As odd as it may seem, the elements of three-point studio lighting apply in the field. While reflectors and lights pop your image and render three dimensions to the screen, Mother Nature dictates much of what you decide when setting up a shot outdoors.

That great ball in the sky now fills in for the studio's key, fill and backlight. In the role of key light, the sun classically fits the definition when you use a reflector to target it exactly where you need it. Keep in mind that reflectors are easy to move, and their bounced sunlight is a softer light. Also remember that the size of the source determines the softness of a light - the bigger the reflector, the softer the light. Morning and late afternoon are best angles to contour shadows when working with sunlight as your key. As the sun moves, the color of the light also changes. Maintain lighting continuity, and consider shooting a sequence over the course of several days.

Similarly, reflect the sun as a rim light - or back or hair light - to separate your subject from the background. Create this third-dimension illusion with a second reflector throwing light onto the back of the subject. Get creative, and pull a white vehicle just off-screen to mask sounds and wind, to reflect the light or to act as a huge light stand!

The industry refers to raccoon eye light for poorly-scheduled filming during mid-day that creates harsh shadows in eye sockets. If you must shoot during these hours, reflectors are critical for redirecting the light and creating good key light effects. Problems still may arise when the talent is squinting to avoid sunburned eyes.

In the studio, a flood usually throws the fill light to increase overall exposure. Outdoors, the sun fills this role perfectly by always casting a wide illumination. But the purpose of fills is to soften the harsh shadows of the key light, and, unless there are clouds, you will need to diffuse that hard sunlight fill by one of two methods: reflecting or diffusing.

Reflectors come in a range of varieties, from art-store purchases of white core board to photography-store flexible reflectors. With many sizes, colors and price ranges, the deciding choice may be how you plan to hold them: the trick to reflecting light is keeping the material steady in the wind. Beware of rippling fabric reflectors, which create a wavy light or core boards that blow out of position.

Diffusing sunlight can be a challenge. It means putting a scrim, or gauze, high and far away to keep out of the shot. Remember that the sun is moving, so find a place where a building or tree line won't interfere before you're ready to shoot. Depending on the sun's angle and intensity, curtains, you can use single or doubled sheets or cotton muslin to diffuse the sun. Be ready for building moveable frames on your set. There are professional diffusers, light stands and arms for this specific purpose. Remember to rent or make sandbags for stability, whether the wind is a factor or not.

The quick solution to a bright day is simply to find a tree to act as a natural diffuser. Be aware that your fill, the sun, is moving. You have worked hard to control even lighting, so watch for it piercing through leaves, which can happen in seconds.

If you need to shoot with the sun behind the subject, place a reflector in front of the subject to increase the light in the shadows. Always be aware of lens flare unless you intentionally want it, and flag a shadow across your lens with a reflector. Watch closely for the sneaking edge of the reflector, which is another good reason to use tools to hold flags rather than bystanders with weakening arms. In even tougher scenes, when you must shoot the subject from below, and you are literally shooting into the sky, a diffuser on the brightly-lit subject itself works well.

Track hours on your bulb-life, and have spares. Clothespins are critical for pinning diffusers. Even the ordinary elements must be protected like eggs. For starter kits, consider 12 items: manual light reflector, mid-to-large whiteboard, poles and clamps to stabilize it, plus external extension cords, traditional lights, extra bulbs, diffusers and gels, as well as a battery-powered light, gaffer tape and sandbags. That's a dozen in a nutshell. There will be more.

Remember that your battery-powered light will not cast far and works as a spot light, unless you have the option of using a white ceiling or reflector to bounce and soften it. Battery management is a real concern. If you're in a shadow area and it's hard to bounce sun into the subject, use a portable light and blue gels to match the temperature of the sun. If you are buying one, consider paying more for movable arms, gels, bulb life, sturdiness, weight and flexibility of use.

Shooting in the great outdoors brings gold to your video production. After all, the viewer is sitting in a dark room, and nothing beats the allure of travel. Similarly, the performance of onscreen talent is often enlivened by being outdoors. But the importance of learning the four steps of outdoor lighting is that it gives you confidence. Like camping, if you bring the right gear, protect it and know when and how to use it, your crew, cast and client will appreciate your methodical approach to the whims of nature. While they may be distracted or overwhelmed, they will recognize that you're not seeing what they see. Your eye is set to see in a new way: adjusted to the lens of your camera.