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Old August 10th, 2005, 10:59 PM   #16
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Quote:
Originally Posted by Bill Rankin
For the information and opinions. I am shooting in a small auditorium around christmas or shortly thereafter, so I think the soft boxes are all I'll need and perhaps one broad background light. The subject will be walking short distances on the stage.

I'll be shooting from approximately 50-70 feet away...there will be amply lighting from outdoors and recessed ceiling light...

Again, thanks everyone....
Hey Bill,

I originally suggested a prolight back light for interviews. Unless you can fly several backlights from a grid above the stage I would suggest not even bothering with back lights. The potential for stands in the shot and lens flare is too great and will cause you more problems than not using a backlight in this particular situation.

Get the key lights right and your auditorium video will look fine.

Will you be shooting during the day? Re: will the outdoor light be a factor? If so, I would also suggest you white balance under the blue outdoor light. Your subsequent indoor footage may be a little warm but I think that is better than ending up with blue and/or cool looking footage.

Also, I don't know what camera you are shooting with, but you should be sure that your camera can get a decently exposed image at your zoom range, (50-70 ft.), with the lighting you expect to use.

Good luck to you,

Steph
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Old August 16th, 2005, 10:05 PM   #17
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How about another pro light and a 38 inch reflector? Can't light an interview any better way. If you want a look at lighting interviews I've made a DVD that is very inexpensive but will teach you a lot about lighting headshots.

http://www.bluesky-web.com/dvd1headshot.htm

Walter Graff
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Old August 16th, 2005, 10:07 PM   #18
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"That film-and-video.com article on the DIY fluorescents mentions "A perfect example was a recent shoot for A&E's investigative documentary series titled American Justice with host Bill Curtis. "

My DVX100A was used on that shoot. I bought it used, from Bill Kurtis' production company, LOL. It's got pedigree. :P"


Actually "that" interview I show in my article was shot with a Betacam camera, not a Dv camera.


Walter Graff
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Old August 16th, 2005, 10:15 PM   #19
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Nice!

Mine came from Bill Kurtis Productions and was used for Cold Case Files and some other shows I can't remember the name of. Guess not that one! I'm just grateful I got a chance to buy it as it was very well maintained. Very nice and very professional crew there at BKP by the way.
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Old August 16th, 2005, 10:19 PM   #20
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Quote:
Originally Posted by Bill Porter
Nice!

Mine came from Bill Kurtis Productions and was used for Cold Case Files and some other shows I can't remember the name of. Guess not that one! I'm just grateful I got a chance to buy it as it was very well maintained. Very nice and very professional crew there at BKP by the way.

his company actually never really produced much until recently. Rather it was produced by other companies and he was talent. It was a name more than a production company. They made a deal to buy Hd stuff and dumped whatever they had.
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Old August 17th, 2005, 03:02 AM   #21
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Wow, you're just crapping on whatever I have to say today. What a guy!

BKP was totally up front about having bought HD stuff to replace their cameras. Since when is "selling" what they had, akin to "dumping"?

I for one am glad if they indeed "never really produced much." I guess that explains why my camera was in such good shape, though it doesn't explain why you have a burr in your saddle toward them.

I also found them extremely professional. They always answered the phone during regular business hours, the receptionist was extremely helpful (for example, instead of sending me to voicemail purgatory if I couldn't reach someone, she'd find them for me), and the fellow I purchased the camera from was helpful above and beyond the call of "person selling something." He even went to lengths to get it here in time for an important event, and to provide tracking information as soon as it was shipped.

Speaking of professionalism, it doesn't serve me or anyone else any good for you to sit there and try to tear down BKP. It just makes you look like you have a bone to pick.

I found your site and thought, Well, even though this guy is an egomaniac ("[My] work behind the lens sets the standard for what we view on television screens all over the world today."), at least if I ever want to make my video look like video and not film, I know where to go:
http://www.bluesky-web.com/location-sept.htm

I'm extremely happy with my camera and with BKP so I will keep this out of Konstantin's thread. I hope you are kind enough to do the same, I am sure no-one wants to hear any more about this from you or me.
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Old August 17th, 2005, 06:27 AM   #22
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"Wow, you're just crapping on whatever I have to say today. What a guy!"

BIll, I'm sorry if I upset you. I don't think you took what I said correctly.

"Since when is "selling" what they had, akin to "dumping"? "

It's a colloquialism. They got rid of their stuff as in "dumped it. Not trying to put them or anyone else down. And my point was what you said. Perhaps they never used the stuff that much since htey never produced much on their own until recently.

" I guess that explains why my camera was in such good shape"

As I said...

"Speaking of professionalism, it doesn't serve me or anyone else any good for you to sit there and try to tear down BKP. It just makes you look like you have a bone to pick."

Hey, take a step back. You are reading so much into what I post that I had to go back and make sure we both read the same post.

"I found your site and thought, Well, even though this guy is an egomaniac ("[My] work behind the lens sets the standard for what we view on television screens all over the world today."), at least if I ever want to make my video look like video and not film, I know where to go:
http://www.bluesky-web.com/location-sept.htm"

I'm glad you found my site. I have many articles on production that might interest you on the instruction page.

I am indeed proud of the work I have done. In twenty years I have worked on over 1500 television programs, hundreds of commercials, and a dozen feature films. I give many lectures to networks, affiliates, and private groups. Indeed many of the techniques I have taught have become standards in the industry. I'm proud of my work and glad to share it.
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Old August 17th, 2005, 10:09 AM   #23
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Thanks Steph

I am using Pd 170 and outdoor light will be a factor. Window are located at the top of the outside walls. Ceiling is very high, maybe 30 feet. So outdoor lighting will probably factor in only slightly.

The auditorium is small. Appr. 150 people will be seated (arena style). Two PD 170's hopefully. I don't think one camera would work well since the speaker will move about the stage with displayed graphics.

Anyway, thanks Steph.
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Old August 17th, 2005, 10:28 AM   #24
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Bill,

Normally in such instances we don't use soft boxes. This is a big space. Will it be lit from light from outdoors and indoors together? Best way to do this is to put strong lights on either side of the back or even in the middle back and aim them at the are in question. Strong as in 1k open face fixtures. If its a color temperature issue, I'd say if the predominant light is outdoor then color correct the fixtures for that. If not then light them as is with some 216 diffusion to soften them and spot them as needed. It's not complicated, basically you are helping to illuminate the area they are walking in. Soft boxes will throw only enough light about eight rows.
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Old August 17th, 2005, 01:59 PM   #25
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Quote:
Originally Posted by Walter Graff
How about another pro light and a 38 inch reflector? Can't light an interview any better way. If you want a look at lighting interviews I've made a DVD that is very inexpensive but will teach you a lot about lighting headshots.

http://www.bluesky-web.com/dvd1headshot.htm

Walter Graff
I'd definitely check out the DVD. I'm trying to learn all I can. I just picked up Lighting For Video by Gerald Millerson.

So do you think a second pro and a reflector would beat your 'grafflight' set up? I actually just picked up a couple of extra stands and some GE lights at Home Depot since I was excited by the low budget solution.

For some reason I LOVE the pro light (size, value, etc), so I'm kind of equally excited by your solution. Can you elaborate on this set up for me a bit? I went by B&H today when I grabbed the book and browsed some of the impact reflectors and holders.

Would I be using one pro as a key light and the other as a hair light? The key bouncing from the reflector?

Can you recommend any specific items to pick up?

Thanks so much.
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Old August 17th, 2005, 02:05 PM   #26
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Quote:
Originally Posted by Konstantin Vilenchitz
I'd definitely check out the DVD. I'm trying to learn all I can. I just picked up Lighting For Video by Gerald Millerson.

So do you think a second pro and a reflector would beat your 'grafflight' set up? I actually just picked up a couple of extra stands and some GE lights at Home Depot since I was excited by the low budget solution.

For some reason I LOVE the pro light (size, value, etc), so I'm kind of equally excited by your solution. Can you elaborate on this set up for me a bit? I went by B&H today when I grabbed the book and browsed some of the impact reflectors and holders.

Would I be using one pro as a key light and the other as a hair light? The key bouncing from the reflector?

Can you recommend any specific items to pick up?

Thanks so much.

Read some of the articles on my site. One continuous them is "less is more". We use a lot less light in movies and TV than folks think. For a headshot the simplest is to do what you said, one into the reflector and the other as a kicker on the head from the opposite side, with your key on the side the person is facing. Do that and you will need little more other than maybe alight to add to the background. An additional pro light will solve that. In my DVD it will all become very clear.
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