How to Light a Remote Space like a Pro
When it comes to creating high-production value content, of course the cameras are a key component, but many don’t realise that lighting is the real hero. It’s one of the best-stocked parts of Cande’s kit cupboard and the secret to elevating our client’s work.
Filming in a remote location can be a bit like cooking a gourmet meal on a camping stove: challenging, messy, and occasionally involving duct tape. Whether you’re shooting a corporate interview in a far-flung facility, a dramatic scene in a barn, or a sunlit sequence on a windswept hill, precision lighting is still key. Here’s a sneak peek of how the well-versed Cande team approaches it.
Pack Smart
When it comes to remote shoots, your kit bag is your best friend, or your worst enemy if you forget the essentials. Always pack: a bounce board (to reflect light onto your subject); diffusion (to diffuse and soften the light); blackout material/flags (negative fill i.e. to remove the light); and black wrap (to block out any unwanted light sources). These are your “get out of jail free” cards for any tricky lighting situation.
Need to soften harsh sunlight? Diffusion. Want to block light to create contrast? Blackout material. Need to rig up something MacGyver-style? Black wrap’s your hero. Think of these as your lighting survival tools – lightweight, versatile, and perfect for crafting every shot.
Our client work takes us from studios where we have full control over every light source, to outside locations with varying shadows, to inside tractors, boardrooms and factories, and all of these tools prove immensely helpful, time and time again.
Plan for Power
Power capability can often be overlooked when you are focusing on the delivery of what the client wants. The first priority for any remote location filming should be a recce to identify what the power capabilities are, and what portable power options might be needed either as your main source, or as back up. Most LED lights run off big batteries such as V-mount or Gold-mount, but occasionally we need to think bigger and this needs planning.
Generators can be indispensable, however diesel and petrol ones are noisy. If you’re capturing audio, you’ll have to run cables from a far-off corner, which can prove tricky, and you will also need to get a dedicated ‘generator babysitter’, an expensive added cost. Portable solar generators are a better option. These eco-friendly beauties are quiet, compact, and powerful enough to run a suite of LED lights and charge your ever-growing pile of batteries.
Embrace the Sun
It might sound obvious, but when shooting outdoors, the sun is your biggest light source, however it can also be unpredictable. The perfect conditions are overcast skies when the clouds act like a giant diffusion frame, giving you soft, flattering light for free. Add in a bounce board to knock out shadows, and you’re golden.
But what about sunny, blue-sky days? That’s where it gets tricky. Harsh sunlight can be a nightmare, throwing unflattering shadows everywhere. If you’ve got a big diffusion frame, use it! No frame? Adapt. Find natural shade under trees, use the shadow of a building, or lean into dappled light for a more artistic vibe.
And if the clouds are playing hide-and-seek, prepare to hear the classic Doors number, “Waiting for the Sun” (the soundtrack of every location film crew!). For one shoot we did for NHS Leicestershire we managed to get a diffusion frame set up in a hospital garden for a series of interviews; something interesting for the patients to look at, as well as create the desired effect.
Get Creative with Key and Fill Light
Lighting doesn’t have to be textbook-perfect; it just has to make sense and look good. Pay attention to your natural light sources. If there’s a window on the subject’s left, don’t light them from the right, it’ll appear strange to the viewer.
When you’ve got the gear, experiment to get the perfect effect. A Book Light setup is a favourite for a reason: it gives you beautifully soft, even light, that flatters your subject. This is where you bounce a light source through a layer of diffusion, so there’s no direct light. Overhead Softboxes are another winner for controlled environments. On each shoot, depending on scale, we’ll bring a Director of Photography (DoP) as part of our crew. The DoP is responsible for establishing the lighting needs and designing the set-up.
Need inspiration? We once turned a farm grain barn into a panel show studio. Using a truss frame as part of the set design, we rigged a 12×12 overhead diffusion frame with three 600d LEDs as our key light, then used 300d LEDs for fill. For a pop of colour, we lit the grain backdrop with RGB LEDs in the client’s brand colours.
Know the Basics
Three-point lighting is a classic for one very good reason – it works. But it’s not necessarily going to give you that unique deliverable that will ‘wow’ your client. Once the Cande team has set up the core lighting setup, we like to push boundaries to create something truly bespoke and professional.
We experiment with angles, shadows, and textures, plus use practicals (such as lamps or candles) for added depth. Layered lighting makes the scene feel alive. And remember, a great lighting setup doesn’t just illuminate the subject, it also tells part of the story, and as such, becomes a distinctive part of the narrative.
Bonus Tip: Preparation means Confidence
Planning is an absolute must. Always recce your location, whether in-person or remote. It’s your chance to spot potential challenges (like where the sun will be at different times of day or any power supply issues) and opportunities (like natural reflectors or shaded spots). Being prepared and packing the best equipment you have, means you will have the confidence to not only be creative on the day to best effect, but also have the means to adapt to any challenge or opportunity, and that’s the key to make great lighting in remote shoots look effortless.
