Master Interview Lighting in 2025 - Ultimate Key Light Test

Lighting interviews is one of the most common things cinematographers have to do over the course of their careers, so you might as well master them! In this video we’ll test different combinations of light and diffusion to see what makes the most difference in your final interview frame so you can pick the right tool for the job.

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CHAPTERS

0:00 - intro
1:00 - what’s this test about
2:13 - why I’m doing this comparison
3:38 - amazing conversation with meet the gaffer
6:30 - lights used in the test
7:10 - Setting the room
9:08 - No lights, neg fill only
10:10 - aputure 300d + no diffusion
11:03 - amaran f22c + no diffusion
13:17 - amaran f22c + 1/2 stop grid cloth
14:32 - aputure 300d + soft box
16:27 - aputure 300d + 4x4 1 stop grid cloth
18:37 - amaran f22c + 4x4 1 stop grid cloth
19:58 - aputure 300d + 4x4 white bounce
21:22 - aputure 300d + bounce & diffusion
22:14 - final thoughts

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IG: @lucforsyth

[marcusp]

One more note. If someone wants to practice cinematography in a radically new way, they should learn to use unreal engine; build their scenes, and figure out how to light and film them. It’s not the same as the real world but it’s damn convenient to practice on. Then you can go and take your virtual shots and try to recreate them in reality.

[J_HNP]

Always enjoy these, Luc. Thanks for taking us along the journey with you.

If I can add my two cents to this interpretation: I’m gonna guess that the F22C is cooler than it’s rated. In fact, I’d say the biggest difference is that the light looks cool, and thus less appealing.

Additionally, once you started introducing the book light and larger diffusion, you are naturally bouncing light off the walls, introducing even more warmth and softness.

Apparent warmth aside, a book light is the gold standard for super soft look with a nice fall off.

Would have loved to see an initial setup where you hadn’t clacked off the front window. A “this is what you’d get with natural light” establishing shot.

Thanks!

[TeddyRumble]

Tater Jet interviewed the cinematographer who shot 'A Complete Unknown', and his point was with new cameras, one can shoot at 12, 900 iso, with virtually no lighting, and get extraordinary results. The clips I saw were...amazing.

As far as interviews go, I really prefer natural lighting as the key light, and a small light as a fill.

I really like to shoot outdoors, especially if the subject's workspace is outdoors. A friend shot a short doc on Sacramento's greatest risk; that of flooding. He shot it on the banks of the American River, interviewing an expert. It looked like a million bucks. Beats a sit down office interview hands down.

[directoradamg]

Hey, at 19:36 you kind of say something wrong: "theoretically thats going to mean the light travels further which should make it softer". A light source further away will be a harder source.
Softness is dictated by the closeness and size of the source in relation to the subject.

At 20:23 you can actually see that the bounced light is casting harder subjects on your source. Why? Because you seem to have put the bounce material 2-3feet further from the subject.
If the fabric and bounce were the same distance, the bounce will usually give the more pleasing softer image from my experience.

With lighting tests, it is critical to remember that just because the light is coming from a fixture, that is not always the source. Whatever is reflecting, or transferring is now the source. So the bounce fabric is the source. Or the sheer fabric is the source. Not the actual led's on the fixture.

It is really important to know that distance from source to subject, and size of source in relation to subject is what creates soft light. Closer to subject, and larger in relation to subject = soft.
❤
Hope that helps someone.

[Lu-sjni]

man, i love this channel. you've been very helpful! I know you have to make your money, but I really hope this channel doesn't turn into another typical "youtube salesmen" like all the others.

[imammarc]

Video was just right in terms of length and was economical in its explanations, letting the setups speak for themselves. Many thanks. Learning lots.

[lazorkophotography]

Thanks for doing this comparison! For my interview setups I bring a 6x6 Magic cloth rag and a telescoping background crossbar so I can t-bone it with the magic cloth and adjust it to be wider or more narrow depending on how much space i have. For quick setups or smaller spaces ive found using a parabolic softbox and walking in the light as close as possible to the subject is still the best option when having to compromise.

[LoyalPizza]

Great video man! Love the work! The last lighting style is rather new to me and seems like a lot of work. You are one of my favorite filmmaker out there. I just recently upgraded two 30watt lights from Best Buy to two amaran 300c’s. I think lighting is quite important! It’s how the camera see’s!

[jonquinn]

I was very engaged with this video until 6:54, I had to recover when I saw the all-black Crocs on set! Love it mane!

[Chandler_Goodrich]

Nice work! I liked all of them for different reasons. The book light was the softest, and I think the output of 300D was giving you an edge light all throughout the test, because I didn't notice it with the f22c. Different lights have different throws, and you can't know that unless you test.

I tend to do my booklights Shane Hurlbut style, where you put the edges of one side of your setup together, so that you create an opened book shape. I've found that I have an easier time controlling spill that way, and most of the time, I don't have to flag or net the background. Thanks Luc, this was a cool test!

[JesusPursuit]

That's nice, especially that last one looked really great.

[nyambe]

With such handsome subject, all lighting looks fantastic. Well done. For the next video you can explore how skin complexity affects lighting setup. Also how shadows affect Age, Male, Female, mood etc.

[CHI_SCIPIO]

your content is very inspiring! I enjoyed this video!!😍

[lukerng]

LOVE these tests!! So much valuable info

[chrisw]

I am a fan of motivated lighting, I work with whats there cause that always saves labor, then I add in light where I need it. Nothing more. Spaces, not faces.

[MDFariasMusic]

how much would you say you were increasing the lights power as you were adding in the diffusion sources? Curious to know what you had the light running at when setting up the booklight.

[chrisgorys]

A lot of times on set they literally use painters poles with a Cellini clamp to hold up diffusion or a aluminum pipe if you wanna be fancy with it

[EpicCinematicAdventures]

Another great video from Luc! Just one observation: it looks like the key light is on the wrong side when you’re speaking. Perhaps I’m missing the point, but the side you’re talking from should ideally be in a darker shade, not the brighter one.

[xxphactor]

I have to shoot 60 Minutes style programs and I have to set up within 20 minutes. So you learn how to do the most with less. Space, ambient light and time will determine your choices.

[marcusp]

My God. Do people underestimate skill and lean on solving their problems with cash. I am so guilty of this and only having been into filming for a few months I have already moved past the gear bug. Now, it’s all about practice. If there is a gear shortage for me these days it’s stands, clamps, and generally stuff to stick my lights in places I know they need to go.