Interview Lighting Setups: Gaffer Tips, Techniques, & Equipment

Interview lighting techniques are one of the most important skills to sharpen as a commercial or documentary filmmaker. It’s easy to overlook small details that make a huge difference in how your subject reads on camera, from eyeline placement and color balance to the quality of your key light.

Understanding Interview Lighting Basics

When lighting interviews, my approach always starts with the story. What tone do we want to communicate? Clean and corporate? Warm and intimate? Cinematic and moody? The lighting should support that mood without distracting from the person speaking.

For most interviews, a soft, directional key light is your foundation. You’re aiming for flattering light that shapes the face while keeping the subject’s features natural. The classic three-point setup — key, fill, and backlight — is still the standard, but I tend to modify it depending on the environment.

A soft key from one side gives shape and depth. A gentle fill keeps shadows from falling too dark. And a hair or rim light separates your subject from the background. You can use bounce, diffusion, and flags to fine-tune the contrast ratio and make the scene feel intentional rather than overlit.

Common Mistakes to Avoid

The most common mistake I see people make with interview setups is an incorrect eyeline. If the subject’s gaze feels off, it immediately pulls viewers out of the conversation.

If you’re ever unsure where to set your key light in relation to the subject, just remember to put it on the same side of the camera as the director. Talent should be looking in the direction of the source to achieve the far side key.

The subject is generally placed to the side third of the frame; eyeline crossing the camera to the director, and negative space on the same side as the key light. Your b-cam should be on the opposite side of the key light, shooting into the shadow of the subject.

Of course, there are exceptions and creative liberties you can take, like center framing your subject, but this is the loose rule of thumb for a traditional interview setup.

Choosing the Right Gear

There’s no universal gear list for interview lighting since it depends on your space, budget, and subject. But consistency and control are key.

For a compact indoor interview setup, I often rely on:

• A large, soft key (like a book light) for wraparound quality.

• A LiteMat or panel LED for hair light.

• A small practical or accent light in the background to create depth.

• Negative fill (a flag or floppy) to control unwanted spill and add contrast.

Color balance also matters (check your white balance), but sometimes you can create depth in the image by introducing tonal contrast – cool windows with warm practical accents, for example. As long as it's intentional, it will probably look good!

My Go-To Interview Lighting Setup

An 8x8 book light is my go-to for interviews. 1200 bounced through bleached muslin with a control grid (extra important when the light is big and the space is small). LiteMat plus 2L with Snapgrid on a baby boom for hair light, LiteMat Spectrum 4 for a little scratch and room lift, B7C in da lamp, and a floppy for neg. I really liked the b-cam image, so here ya go. 🦝🗑🦝

Finding the Perfect Key Light Position

Here’s another little nifty trick to find the placement of your key light:

Let’s say you know the light will be placed camera left. Stand in where talent will be looking at the camera, close your right eye (or the eye closest to the key light), then hold out your right hand 90 degrees to your side and slowly bring it to the front until you see it peek in the peripheral of your left eye. If you set the lamp right there, you are likely to get a Rembrandt pattern on the first try 🤯. I know it sounds a little confusing written out, but it’s actually really simple!

You’ll often land in a flattering spot where the light grazes the far side of the face, giving shape without flattening features. It sounds a little strange written out, but once you try it, it becomes second nature.

Fine-Tuning the Look

Once your lights are in place, it’s all about control. I like to think of interview lighting as sculpting rather than illuminating. You’re shaping contrast and guiding the eye.

Here are a few principles to keep in mind on set:

Watch the background

A perfectly lit subject can fall flat if the background competes for attention. Keep your subject’s exposure slightly higher than the background to create natural separation.

Mind your ratios

A high key ratio (lots of fill, little shadow) reads bright and polished. A lower ratio (less fill) adds depth and mood. I’ll often start with a 2:1 or 3:1 ratio for interviews, enough to shape the face without losing detail.

Add texture

Don’t forget the environment. A soft splash on a curtain, a rim of light across furniture, or a gentle back wall glow can make your frame feel dimensional.

Check color contrast

Cool keys with warm backgrounds can feel cinematic; just make sure the tones match the project's mood. If the message is clean and corporate, keep your palette neutral and cohesive.

Keeping It Bright, Keeping It Balanced

Interview lighting is one of those crafts that looks simple until you start doing it. The more you shoot, the more you realize it’s about control, not just brightness. A great interview setup should make the subject feel at ease and look their best, while supporting the story you’re trying to tell. 

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FAQs

What is the best lighting setup for interviews?

A soft key light placed on the far side of the camera, a gentle fill on the opposite side, and a subtle hair light for separation create a balanced, flattering look.

How do you avoid harsh shadows?

Use diffusion, bounce, or a book light to soften the key source. Add fill or negative fill to control contrast instead of cranking brightness.

What color temperature is best for interviews?

Match your lighting to the ambient environment — typically daylight (5600K) or tungsten (3200K). Keeping all sources balanced ensures skin tones look natural.

How do I light a two-person interview?

Treat each subject individually. You can use a shared key and fill, but adjust positioning and diffusion so both faces are evenly exposed without flattening.

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Get to know Tyler Kaschke, Chief Lighting Technician in Denver and owner of Dark Side Lighting, LLC, a boutique rental house in Colorado.