help with lighting set-up

I would bring some CTB in case there is any daylight in the room. Some diffusion material is essential; use foam core if your on a budget, or preferably shoot through hampshire frost. C stands always help when rigging stuff. What kind of grip equipment do you have? As for a backdrop, try to keep it relevant to the subject, and don't sit by a blown out window or right against a plain wall. If you can, set up a gobo with a nice pattern on the background, that always makes it more interesting.
 
Well since they are fresnel lights, and your talking interviews, diffusion of the lights is going to be key. I'd generally use silks if I wanted direct lighting, or I'd bounce the light to soften it up as well. If you are going to be going with silks, some nice c-stands should be on your shopping list as well
 
mattsdni said:
I would bring some CTB in case there is any daylight in the room. Some diffusion material is essential; use foam core if your on a budget, or preferably shoot through hampshire frost. C stands always help when rigging stuff. What kind of grip equipment do you have? As for a backdrop, try to keep it relevant to the subject, and don't sit by a blown out window or right against a plain wall. If you can, set up a gobo with a nice pattern on the background, that always makes it more interesting.
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Thanks... I just have the Arri kit mentioned. Two additional light stands, and a background cloth that I sometimes use for portrait photography. The cloth is a blue white mix.... not sure if I will use it, depends on the results after some test shots.
 
nwstudios and awbacon, I was thinking of using a two or three light set up. I have barn doors and was thinking of attaching silk or gels to the doors. I was thinking about using my two extra light stands for the back drop. I would also like to add at least one other stand for the boom mic. So many options....
 
You can diffuse as many have suggested, but a softbox with an egg crate should be in your future. Plan on getting the largest you can afford, and make sure it is rated for continuous duty, not flash. The stands that came with your kit are not as good as C-stands, but will work. You may want to invest in some ballast (sand bags) for them.

Grant
 
If you do an "interview" lighting setup you are most likely going to need a flag for the kicker. Least ways I never seem to be able to get by without one. YMMV
 
HKB said:
nwstudios and awbacon, I was thinking of using a two or three light set up. I have barn doors and was thinking of attaching silk or gels to the doors. I was thinking about using my two extra light stands for the back drop. I would also like to add at least one other stand for the boom mic. So many options....
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I am always a bit leery of putting silks / nets on barn doors. I know each light has a bit different spec on the safe distance from the lamp to the nearest combustible material, but as a rule of thumb I always avoid getting my silks / nets that close to the lamp itself.

If your getting the kit you linked to, I'd use all three lights. Key fill and back. Use your two most powerful lights for the key and fill so your contrast ratio is 1:1 or 2:1. (unless you specifically want hi con for the interview style?) and then the third for backlighting (at least this is how I'd run it if the kit was sitting in front of me) A light meter (even if you are shooting digital) will be of great help measuring your contrast ratio as well. And just in case you don't have the info on hand, your contrast ratio is Key + Fill divided by Fill (so meter with both the key and fill on, get foot candle measurement, turn key off, meter fill only, then divide the foot candle measurment of your fill to the measure you got with the key AND fill)
 
It has been awhile since I did a lighting set-up so any help would be great. I don't believe I ever used a kicker.... just a fill and key. I'm here to learn... so please.
 
make sure you buy a roll of black wrap - you can make a flag, a snoot, a cookie, almost anything from it - and it is lightweight and cheap

a kicker is just a little something you add. it can be any little something but in your case it might be a little hair light from the back.

if you hae three lights learn to share them - for example you can use a key but bounce it back to fill - or share the hair light with the background

and ALWAYS shape your light - create a slash or cone on the back wall - will add dimension and take away that student film look

good luck
 
Kickers are also called edge or back lights. They are a good way to separate your subject from the BG. They point towards the camera usually causing lens flare problems if they are not flagged.
 
There are lots of subtle variations on interview lighting. I like this one because the subject is looking at the interviewer not the camera, which is natural, and often is the effect you want. Note, too, that the camera sees mostly the fill side not the key side of the face. This is also generally more flattering and is called short-side lighting. Portrait photographers obsess about face lighting so their sites are good places to read.

The tip about using one light for more than one purpose is a good one and in your case can allow you to use one fixture as a background light. Just spill some of the key light onto a reflector on the opposite side of the face and use it as fill.

interview-lighting-diagram.jpg
 
You are correct. I have melted a few gels over the years.... I'll have to change that.

I bought the lighting set that I linked as a traveler.... and I think it will work very well. I do have a Sekonic light meter that I will be taking with me.

awbacon said:
I am always a bit leery of putting silks / nets on barn doors. I know each light has a bit different spec on the safe distance from the lamp to the nearest combustible material, but as a rule of thumb I always avoid getting my silks / nets that close to the lamp itself.

If your getting the kit you linked to, I'd use all three lights. Key fill and back. Use your two most powerful lights for the key and fill so your contrast ratio is 1:1 or 2:1. (unless you specifically want hi con for the interview style?) and then the third for backlighting (at least this is how I'd run it if the kit was sitting in front of me) A light meter (even if you are shooting digital) will be of great help measuring your contrast ratio as well. And just in case you don't have the info on hand, your contrast ratio is Key + Fill divided by Fill (so meter with both the key and fill on, get foot candle measurement, turn key off, meter fill only, then divide the foot candle measurment of your fill to the measure you got with the key AND fill)
Click to expand...
 
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