Three Lights Package

[Carl Hoang]

Do you have a favorite three lights package and where?
I'm looking to get some lights gear for doing indoor interviews.
TIA

[Chris Soucy]

Try here, hey, it's free.

http://www.dvinfo.net/conf/photon-management/



CS

[Michael Nistler]

Originally Posted by Carl Hoang

Do you have a favorite three lights package and where?
I'm looking to get some lights gear for doing indoor interviews.
TIA

Consider buying DVD training on interview lighting:

Entry level:

Digital Lighting Magic Videos on 3 DVDs - learn the secrets of the top lighting pros

Medium budget:

How to Setup, Light, & Shoot Great Looking Interviews

High-end budget:

Power of Lighting Videos on DVD

Digital Cinema Training

Good luck, Michael

[Marco Leavitt]

Better question for lighting forum. My quick response -- 2 x 650w fresnels, 1 soft light (2 foot kino or Lowell Rifa or Lowell Tota with umbrella or, well, bunch of options).

[Perrone Ford]

I'm with Marco on this one. The Rifa is very flexible if you add the 3-light fluorescent fixture. You can get really close to the talent without the heat, and it's not going to cost near as much as the Kino.

A pair of small Fresnel's won't cost too much. But don't forget some c-stands, clamps, foamcore boards, and your gels and frames.

[Gareth Watkins]

Originally Posted by Carl Hoang

Do you have a favorite three lights package and where?
I'm looking to get some lights gear for doing indoor interviews.
TIA

Hi there
Yep Lowell do some nice affordable 3 light kits.. usually mixing a Rifa, a Tota and a Pro-light small kicker.. Mine all fits in a neat carry case. Google the DV Creators site.. Guy Cochran, who often posts on here has these and if I remember rightly a video demo on using them...

I got mine in London and had them for three years now...
cheers
Gareth

[Carl Hoang]

Thanks all for giving me tips and links on this subject.
I'll check them out and it's much appreciated.

[Michael Nistler]

Originally Posted by Carl Hoang

Thanks all for giving me tips and links on this subject.
I'll check them out and it's much appreciated.

Ah yes, boys and their toys - seems like we're all so quick to focus on the gear. Anyway, if you're simply looking for a nice interview lighting setup, consider the gear recommended by Doug Jensen in the DVD mentioned above (How to Setup, Light, & Shoot Great Looking Interviews). Here's the listing (prices are a few years old), along with some of Doug's tips. Again, I recommend you first get good instruction versus acquiring toys we'd suggest here.

Regards, Michael

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LIGHTING GEAR
Manfroto Avenger A630B Light Stands (2) - $80 ea
Manfroto Avenger A625B Light Stands (2) - $60 ea
Manfroto 3398 Boom Stand - $117
Small Photo SilverDome Softbox - $110
Photoflex Fabric Grid - $90
Photoflex Swivel Mount - $23
Photoflex Speed Ring - $80
LowetTota 500 watts - $110
42 inch Collapsible Reflector - $60
Flexfit Adjustable Holder - $60
Lowel Pro Lights (2) - $110 ea
Lowel Snoot - $35
Lowel 4-way Barn Doors
Impact 600 watt Dimmers (2) - $25 ea
Several 15 foot Electrical Cables - $50
Rosco Cinegel Sampler Kit (10x12) - $32
Warm Cards White Balacing System - $90
Black Foam Core - $10 (cookie)
Matthews 2-1/2 inch Grip Head - $25
C47, Clamp, Gaffers Tape - $20
Empty Lowel Light Kit

LOCATION
Walk around - find alternatives & make best choice
Offices too small & clultered
Large room best - Space between background person & more space between canera & person
Darker room better - more control
Windows should have curtains/blinds
Turn off overhead lights
Find useful furniture - desks, cabinets, lights, chairs, etc (rearrange if necessary)
Scout for fireplace mantles, columns, built-in bookcases, textured walls,windows & door frames, blinds, ineresting architecture, designs, patterns, AND ESPECIALLY corners
Bring in interesting & suportive props
Especially outside, Include people in background (relevant & not distracting)
Listen to room - noisy, empty/hollow, phones, heating/air

CHOOSING BEST CAMERA ANGLE
Determine if subject looking directly at camera & if off camera, which direction they face
Depth is NUMER ONE PRIORITY - background out of focus to avoid flat shots & distractions)

Scout room from corners - diagonals (shoot to corners) look best & permit best depth of field
Camera is always up against a wall or outside room beyond door
Subject generally sits 2/3rds back from camera to wall (2/1 ratio)
Avoid subject sitting on distracting sofas, high-back chairs - use rock-solid chair with low back & no swivel (avoid creeking noises & movement) with arms if available
Camera height should be same as subjects eyes

THE BACK LIGHT (hair & shoulders) - background separation & make subject appear more 3D & not flat
Place behind subject (out of view) so light hits both shoulders equally
(use convertible boom stand, placed on opposite side the subject faces)
Use 150 watt Pro light w/snoot
GOOD LIGHTING IS ALL ABOUT CONTROLLING LIGHTING - KEEPING IT AWAY FROM UNWANTED AREAS - Umbrellas throw light everywhere w/o spill control)
Add dimmer (or diffusion) to background to control intesity & avoid halos - dimmer warming ok
45 degree background light angle is a good starting point

THE KEY LIGHT
Can be hard (shadows, sharp edges & more noticeable) or soft
Modern approach is soft lighting - more flattering, easy to setup (soft edges, no shadows, reflections)
Chimera, Lowel, Photoflex .- popular softboxes (small 16x22 nice for 1 person interview)
Use Photoflex swivel mount & speed ring, 500-750 watt Tota, Pnotoflex softbox & 40.deegee nylon grid (egg crate for control)
Softbox placement:
Either side if subject faces towards camera. If off-camera to side (as Q-A)
If subject does not look directly into lens, subject looks toward keylight (not directly but same side as camera) So interviewer & subject direction is up to 20 degrees off axis from camera (too much makes poor profile shot). The.keylight is 40 degrees on side. So the order is:
Camera, interviewer, keylight
Keylignt is tilted down at 45 degree angle

THE FILL LIGHT - controls contrast between light/dark side of face (golden triangle nose shadow cast on cheek) to provide 3D model effect
Can use 42 inch gold reflector to save time & reduce heat)
Usc adjuslable reflector holder
Position reflector so far side is just behind subjects ear and angled back toward camera to catch soft.box light & direct towards camera.
Reflector should be near subject -.adjust and monitor shadows
Gold reflector surface usually best but considermulti-unit with silver, white, black for special.shots

THE BACKGROUND LIGHTING
Setup background with flowers, desks, practical lights, etc.
Color gels as standalone one possibility
Cookie/cukalores - foam core cutout, use separate C Stand to hold (with Matthews mount) and distance away from background light source - cutout designs (w/x-acto knife) on foam core, etc
Don't overdo cookie effect (hardly noticeable to client)
Colors gels okay with cookie.
Depth of Field remains the key factor (maximize Depth of Field by opening aperature opening - set at F-stop near maximum setting, as F1.4
Can also use Neutral Density to improve Depth of Field
If necessary, can also reduce gain if pix washed out.
Avoid changing shutter speed

USE WARM CARDS

DYNAMIC SHOT ANGLE
Go wide initially or when subject using hands, etc.
Move in (Zoom or different shot w/disolve) as interview progresses
Get extra tight (cutoff head) for emphasis on expression

COMPOSITION
Remember rule of thirds

[Marco Leavitt]

All good info, although I'd be real careful with those warm cards. It's not really something you want to mess with unless you've got a genuine calibrated production monitor on set.