Among the unexpected things the pandemic left in its wake is a higher tolerance for bad lighting. For evidence of this, just check out any Zoom meeting. Faces in shadows framed by blown-out backgrounds look more like witness-protection videos than what we normally see on camera.
Every new technology unleashed on the public is bound to have some hiccups. Ever notice how many teleconference meetings start like a séance, trying to contact departed spirits? “George, can you hear us? We can see you, but can’t hear you.”
For a technology that was previously only in the hands of “experts,” people with zero training have managed better than expected. We’re experiencing a democratization of telecommunications, enabled by plug-and-play components and readily accessible apps. Social media posts are today’s equivalent of pontificating from atop a soapbox in the park, but with a revenue stream. With these new tools, almost anyone can put together a video podcast.
The low quality of most video podcasts makes “close enough for television” seem like the golden age of excellence. They’re cringe-worthy, rather than binge-worthy. As good as entry-level gear has become, production values suffer from a lack of decent lighting.
Newer cameras can make pictures in almost no light, which may ironically be why the lighting falls short. It no longer has to be properly lit to be seen, so it often isn’t. These novice media moguls could considerably up their game with a bit more attention to how things look.
The goal of lighting isn’t merely academic. Good lighting can help video podcasters connect with their audience by making the hosts appear more relatable. We tend to connect more with people when we can actually see their eyes, let alone their faces.
Video podcasting is a big deal, even if the podcasts often don’t always look the part. The top-rated video podcasters have millions of viewers with audience demographics that companies want most. Product placement, compensated endorsements and lucrative sponsorship deals have made this a multibillion-dollar industry.
In this competitive media landscape vying for viewer attention, getting the lighting right provides an edge. Unfortunately, many video podcasts look like they’re made in a closet—illuminated with all the lighting artistry of a bare bulb on a pull chain. Improving on this could be as simple as using a clip-on reflector work light pointed at the host.
One popular “alpha bro” video podcast, “The Joe Rogan Experience,” looks like it spent more money on its neon sign than on lighting the host. Then again, maybe that dimly lit back-alley aesthetic appeals to his audience. Are the deeply shaded eyes meant to suggest some unvarnished authenticity, or just poor lighting choices? Could Rogan spin conspiracy theories as convincingly if viewers could see the twinkle in his eyes?
Mood Lighting
Other successful video podcasters have done a brilliant job of creating visual surroundings that support their show’s themes. Alex Cooper’s popular “Call Her Daddy” video podcast creates a cozy environment for her guests. The right lighting and inviting scenic touches help create a beguiling space for the confessions and gossip that its guests seem to snuggle into. Her show’s curated “look” works by design.
The low quality of most video podcasts makes ‘close enough for television’ seem like the golden age of excellence. They’re cringe-worthy rather than binge-worthy.”
When lighting a video podcast, the questions are much the same as for any other show. The camera shots guide the lighting, so we need to know where the cameras are, who they’re shooting, and where they’re standing or sitting.
Beyond that comes the nuts and bolts of making it work. What types of lights need to go where, and how will they be mounted? Light stands and cables may clutter the floor, while ceiling mounts and cable runs require some additional engineering. In short, it’s like any other lighting project—but on a smaller scale.
Whatever the budget, the basic “three-point lighting” approach is a good place to start.
The illustrated example (two people and four lights) can be done in the corner of a basement, a small room, or a large closet. The size and power of the light fixtures should be chosen to meet the required throw distance. Always adhere to “best practices” for mounting the lights and running power. Remember that people will be under those lights, so use safety cables, sandbags and common sense.
The example illustrated in Fig. 1 is typical for video podcasting. A central camera covers two people chatting. Additional lights can be added to highlight items in the background. If the budget is tight, begin with the two soft lights in the front corners, adding the remaining lights as funding permits.
Remembering that the larger the fixture aperture is, the softer the light will be, so the corner fill lights should have a relatively wide opening. They should fill softly without creating noticeable shadows. Let the work of making a modeling shadow fall to the Fresnel (or other “hard” light) in the center over the camera. Depending on the camera, an overall reading of 45 to 60 foot-candles should be perfect.
As for which lights to buy, you can’t go wrong with quality equipment backed by manufacturers that stand behind their products. Otherwise, “Buy cheap, buy twice.”
Homes Are Different
Lighting residential spaces for video presents different challenges than working in purpose-built studios; the bane of these impromptu spaces is the low ceiling and lack of hanging points. Getting lights secured where you need them always requires some creative mechanical engineering, or you can use stands. Use low-profile fixtures to reduce head bumps.
As for how to control the lights, most provide Bluetooth or other remote connectivity. For simplicity, it’s best if the lights can be controlled by a single app. Because LED lights have internal dimming electronics designed for full line voltage, don’t use external dimmers—they’ll cause damage.
While lighting a “black box” studio set calls for making a completely artificial space look more like a plausible environment, shooting in an ordinary room calls for adding some lighting “magic” to keep the space from looking too prosaic. And because the goal is connecting with your audience, always make sure the host is well-lit and looking good.
