So the next one, we want to look at the next classic lighting pattern is split lighting. This is a very, very dramatic look very powerful. And it can be used in combination with other different lights to soften a little bit, or it can be used on its own. Let's go and have a look at the virtual studio and see how we set the lighting up and how that actually looks on the subject. So this is split lighting. Essentially what you've got is you've got the subject is split into a light side and a shadow side.
And that's why it's called spilitt lighting. So let's have a look at the studio and see how we would set that up. So here is a really, really simple lighting setup. We've put a little octave box on the speed light this time understand. It's one light and it's shining. across a subject space, and it's straight on to the subject.
As usual, it's slightly above head height. And as you can see, it's completely side arm. Now one of the important things to note is I want you to look at where the back of the light source and the front of the light sources is not. You don't want to put the light in line with the head, you want to put the lights at the back of the lights on the back of the head and the front of the light is in front of the subject. And that's going to give us a little bit more fill around the side of the face. If you want to remove the filter, take it back a bit.
If you want even more, bring it forward a little bit. So moving that light forward, parallel to the subject is going to give you more light. I do want to show you something. I want to show you a little technique to show you that once you've set the lightened subject up if you remember Move the camera rather than the light in the subject, we can get some different images. So for instance, initially up, we have the camera full face to the subject. But what happens if I move the camera until it's two thirds?
Okay, so now we're in the to third view, and we haven't changed the light, but look at how just moving the camera from full face to two thirds, create something really, really, really interesting. Now if we have a large light source, maybe like a window, we will now get a full silhouette on this image just by moving the camera to the side of the subject. As you can see here, that would be how you would take a silhouette The subject wouldn't move, the light wouldn't move, anything you'd move is the camera. So let's just move the camera and round to here and move it forward. So now we've moved it around to two thirds view on the other side of the subjects face. And now it's well lit.
And we could do the same with the profile shot as well. So I hope you can see that just by moving the camera and not changing the subject and this goes for any of the lighting we have. If you keep the subject fixed and the light fixed and just move around with your camera, you can be amazed what different dynamic images you can make. And that's a really important skill to learn. Because oftentimes, we want to move the subject or we want to move the light but sometimes just moving the camera can make a huge difference. So now we have split lighting.
Now we might want to add a little bit of fill light in this To soften this up a little bit, there's a number of different ways we could add fill light in this image. But let's have a look at what we've done here, very simple, we have put it slightly to the front and to the side. And that's created this image. Now what would happen if we move this around a little bit. So I want to show you moving the film light. Now while we're looking at split lighting to show how that would change the angle a little bit at the moment.
We're pretty much to the side slightly to the side slightly in front. But let's just try a different angle. And now what we've done is we've just brought that light around a little bit more and it's just soften things out across the nose. So this is probably a better angle than the one we started with. But I wanted to do that intentionally to show you that moving the fill light can actually change the image Lot. So let's just again, once again on this one, I'm just going to grab the camera, I'm going to move the camera.
And hopefully you can see, by moving the camera to third view, what difference it makes in terms of drama. So what I've done have just moved the body because the virtual model doesn't allow you to turn the head. So I've had to turn the body in this instance, but normally I would leave the body as it is. And let's have a look at the difference now. So again, you can see it's a two thirds view, probably need to come around a little bit more, make sure this is not touching here. And this is not touching over here, as we discuss in the two third lecture.
But now we can see that we've put a bit of fill on there and we're creating a bit of drama and it's becoming a little bit more interesting. So that is split lighting. Let's just remind ourselves that split light Full on that split lighting with Phil on the left hand side. So quite a dramatic difference between the two