How to Use V-Flats for Video | Three Epic Setups with Samuel Bouret

Samuel Bouret is usually behind the camera, but today, he’s stepping in front to show just how powerful V-Flats can be in videography. From soft interview lighting to high-energy commercials and dramatic cinematic looks, he breaks down three killer setups that prove V-Flats are a must-have tool for any videographer.

Soft, Flattering Light for Interviews

First up, an interview setup. Model and actress Denise steps in as the subject while Samuel builds a clean, professional lighting setup. On camera right, he places an Aputure 300D with a massive 70-inch umbrella. “We are pointing the light inside the umbrella so the light can bounce out through the diffuser for a nice soft light.”

To keep shadows in check, a second light is bounced off a V-Flat on camera left, filling in any harsh areas on Denise’s face. A hair light adds that final touch, separating her from the background. The result? A professional, evenly lit interview setup that looks straight out of a high-end production.

Denise gets into character:

“Hello, my name is Denise, and I’m here to talk about myself… and what you need to do to date a girl like me.”

Samuel immediately calls it: “Okay, cut!”

That's a wrap. Time for the next look.

Bright, Punchy High-Key Commercial

Now, things get a little more fun. Samuel sets up a high-key look for a completely made-up bubble gum brand: Tuvy’s Bubble Gubble.

Key light? Right in front and slightly above the subject. Fill light? V-Flats on both sides, eliminating every last shadow. Background? Another V-Flat, blasted with two lights to get a clean white look. One last touch – a silver reflector below the frame to bounce extra light onto the subject’s face.

“Now let’s shoot this commercial!” Samuel announces.

The ad is as ridiculous as it is hilarious. Denise delivers her lines with dramatic enthusiasm:

“Are you bored? Do you want some excitement in your life? Then try Tuvy's Bubble Gubble!”

It’s bright, energetic, and polished – exactly what you want for commercial work. A complete contrast to the next setup – because now, things get dark.

Cinematic Drama with Deep Shadows

Time for a mood shift. Samuel flips all the V-Flats around to the black sides to absorb light. “Now I want everything dark.”

He brings in a Nicefoto SN-29 light snoot with a gobo to cast a dramatic shadow pattern across Denise’s face, going full film-noir.

A key light shapes the face, a backlight adds depth, and a hair light keeps just enough separation from the background. The result? A scene straight out of a moody drama.