Starting a light set up for interviews
 

Hello,

Not to clutter the board, but I wanted to refocus my questions about my potential light set up.

I've recently upgraded my camera to a PDX 10, and have a nice AT lav mic for audio. I'm shooting one-on-one interviews, fairly tight shots.

I am shooting an interview Monday night and would love to pick up something on Sunday to boost the current set up light-wise.

My lighting right now consists of a lone Lowel Pro Light. I'd like to create a set up organically, adding as I find the need, and am ready to add another piece.

I was originally considering just getting a mini light bank for the pro light, but when I check out B&H, I realize for the same price I could buy an additional light, which might be a smarter choice value-wise for me.

Can anyone recommend a good light that would work well with the Lowel Pro for interviews? I'm looking at spending $150-$250 (light & stand).

Thank you!

I too, am looking for a simple, not too expensive lighting
 

As the gentleperson above, I too, am looking for lights for interviews and for shooting small auditorium lectures. I beleive 500/1000 switchable soft boxes with one or two direct lighting would meet my needs.

Any suggestions...offers? I've listed a WTB in the classified. I am seeking advice here as well.

Thanks

billrankin@aol.com

I guess these beginner questions get tiresome for more experienced A/V people.

Bill, how close are you shooting from? Do you already have a light set up that you're looking to expand on or are you starting from scratch?

Hey Bill,

500w-1000w softboxes should suit your auditorium shooting very well. I would also suggest a Lowel Rifa softbox for a key and a Lowel mini Pro as a back-light for your interviews. Buy dimmers and a good C-stand..

Thanks for the advice, Stephanie. There are so many options it's hard to know where to confidently spend the money.

Would a Rifa 44 / 250 Watt be a sufficient key? I think for the moment I'll pick up a diffused glass filter for the pro light, and save a little for the proper Rifa set up.

http://www.bhphotovideo.com/bnh/cont...ughType=search

Hello Konstantin,


Yes, the Rifa 44/250 watt would be a more than an adequate key light. The Pro-Light is alittle too focused for a key, in my opinion......even with the glass filter.

I have been shot down to my knees many times due to the superior knowledge that others have shared on this site. Please take this advice knowing that I am simply sharing what little I know..

You should expect a more intelligent reponse in the future,

All the best,

Steph

Good to know about the Rifa. Sounds like it has a very easy set up too, which is great. Look forward to eventually picking that up.

My first inclination was to to go with a softbox for my prolight but I feel like if I spend that money towards the Rifa, it would be a wiser investment.

I can only budget so much towards my vid equipment until it starts paying more bills! :) Thankfully the necessary supplies for graphic design are not as numerous, heh heh.

You could also check out a florescent light you build yourself.

http://www.film-and-video.com/broadc...s-30bucks.html

Soft light quality, low wattage:light output ratio (so no blowing fuses or melting/burning things).

Here's another option you might consider, Konstantin. For $219.00, you can get a 500 watt softbox from JTL Everlight. To be perfectly honest, the JTL softlight will take about 5 minutes to set-up, and the Rifa will take about 5 seconds. But if you are on a tight budget, it might be worth investigating. here is a link to JTL, and here is a link to a retailer. But that's not all. Pony up another hundred bucks, and you can get a golf club case from SKB (standard model) that will provide the space for your lights, stands, stingers and the other gear you want to buy. With a carry handle and wheels, it should be subway friendly, if you don't make it too heavy to carry up and down those stairs. The JTL softbox light and the SKB golf case will cost you less than the Rifa alone. Just a thought.

Wayne Orr, SOC

Hello,

I read through the article quickly but didn't see any reference to where to get the lights.

Am I missing something?

Do you have a source?

Thanks !!

Anthony, try this article:
http://www.dv.com/news/news_item.jht...2004/graff0404
registration required.

It has more information on those do-it-yourself lights.

You'll have to go to a hardware yourself and find some appropriate florescents.

Thanks folks...
 

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....

Thanks Glenn

Hehe
 

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

Great people there, by the way.

I picked up light stands and the neon but I've had a hard time finding those silly pinch clips! I've hit 5 hardware stores in the City so far and they either don't carry them or are sold out. I guess a lot of Grafflights are being put together! :)

I saw them online though, so I'll have to just do that to finish the kit.

I'm really impressed by the pics that were in the article(s). I hope my strips turn out similar results.

Thanks for your tip as well, Wayne! That does seem like a good option. I'm even more enthusiastic about the case you suggested. That sounds ideal for me.

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

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

"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

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.

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.

"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.

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.

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.

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.