Eye Light

[Paul Tackett]

Obviously eye-light has been discussed before in these forums, but no matter how much I read up on it in these forums I have not seen a good SIMPLE explanation of how to achieve this.

 

If someone could show me a tutorial video, or even a diagram showing placement, as well as exactly what type of light to use etc. it would be extremely helpful.

 

Eye-light seems to distinguish the amateur productions from the professional. You may argue that this is not the case, however I have yet to see eye lights used on amateur sets. Obviously there are more important things to lighting, however I believe eye light gives it that extra little push.

[David Mullen ASC]

Obviously eye-light has been discussed before in these forums, but no matter how much I read up on it in these forums I have not seen a good SIMPLE explanation of how to achieve this.

 

If someone could show me a tutorial video, or even a diagram showing placement, as well as exactly what type of light to use etc. it would be extremely helpful.

 

Eye-light seems to distinguish the amateur productions from the professional. You may argue that this is not the case, however I have yet to see eye lights used on amateur sets. Obviously there are more important things to lighting, however I believe eye light gives it that extra little push.

 

ANY light can and has been used to create an eyelight. This is not rocket science, just put a light next to the lens and it will be reflected in the eyes of the actor facing the camera. Use a Kino, a Tweenie, a light bulb, a silver card, an 18K HMI, a 1K Zip, an LED, etc. - if it puts out light, it can be reflected in an eyeball.

 

I'm sort of amazed at the recent obsession that film students have with eye lights, as if they've discovered a magic bullet. The quality of the key light is WAY up here and an eyelight is WAY down there in terms of relative importance to a well-lit portrait. Eye lights aren't even the frosting on the cake, they are the bits of frosting you decorate the frosting with.

[Paul Tackett]

ANY light can and has been used to create an eyelight. This is not rocket science, just put a light next to the lens and it will be reflected in the eyes of the actor facing the camera. Use a Kino, a Tweenie, a light bulb, a silver card, an 18K HMI, a 1K Zip, an LED, etc. - if it puts out light, it can be reflected in an eyeball.

 

I'm sort of amazed at the recent obsession that film students have with eye lights, as if they've discovered a magic bullet. The quality of the key light is WAY up here and an eyelight is WAY down there in terms of relative importance to a well-lit portrait. Eye lights aren't even the frosting on the cake, they are the bits of frosting you decorate the frosting with.

 

Thank you very much for your input Mr. Mullen. Would you please expound upon what you mean in terms of the quality of the key light. How can we make this better? what are common mistakes?