Peter Warren csc

Peter Warren is one of Canada's top lighting cameramen and one of the busiest; he is currently D.P. on four, very different television series. Peter's specialty is lifestyle and information programs, but he also likes to squeeze in commercials, corporate videos and a little drama whenever he gets a chance. He has also traveled across the country several times sharing his two decades of experience with young up and coming videographers. He makes his home in Ottawa, Canada's capital.

Lighting for me is the easy part. The challenge is overcoming all the obstacles to great lighting...time, budget and bodies. Time is probably the number one killer of great intentions. To make the most of it, I need a kit that sets up quickly. The Rifa is my favorite. It pops open in a minute and creates a beautiful wrap of light on the subject. I can start with that and add as many lights as time allows. Sometimes, all I need is the Rifa.

Budgets generally limit the bodies, meaning I often work alone. In one trip from my van to the location, I can bring enough light to illuminate a small scene thanks to an Omni case full of Pro's, i-lights and of course, Omni's. I like to have a variety of smaller fixtures that I can hang, hide and clamp.

When I light an interview, I always go for the, "inside key". Meaning the key light is on the opposite side of the interviewer from the camera. This is, by far the predominant way to position the key light. There are several reasons for this: it creates modeling on the camera side of the face, the person is looking towards the light...to me it just looks good. It emphasizes your key / fill ratio, and creates depth. Easy to do this on a single camera set up, not so easy on multiple camera situations. To achieve it you need booms, or creative ways to hide lights otherwise your light stand will be in the other camera's shot.

Ideally the key light is positioned so that you create what is called, "The Rembrandt Triangle". Have a model sit looking off camera, position the key light (preferably a nice large, soft source like the Rifa 55) so that it is on the side in the direction they are looking. Now move the light around until only a triangle of light appears on the camera side of the model's face framed by the eye, the nose and the cheekbone. The light should fall off to shadow under the cheekbone. When you get a chance, go to your local art gallery, the renaissance artist's were masters of light.

For me, the face is the easy part, the real challenge is the background. Don't be afraid to position the subjects where you have the best background, I have rearranged whole rooms and often ask to see if there are other locations available if I'm not happy. What I want is something interesting in the background without being distracting; I'm looking for depth, interesting lines. I'm happy to put a window in the background as long as I know the light is not going to be changing constantly and if I have the time to gel it. In the photo, I have used a single gel combining color correction and .6 nd (it was an overcast day). Lighting then becomes a matter of choosing your mood. I can fill it with shadows for a low-key scene or splash it with light for a high-key scene, like this one.

Lowel light for me, is the best way of overcoming all my lighting obstacles.