If I can buy only one light??
- Thread starter stevevaus
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Rush
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Re: If I can buy only one light??
Hi Elvis, I would hit the guy 3/4 front and 3/4 high (45 degrees to the side and 45 degrees up) with the 1K Softbox for key, bounce the 650 fresnel off the wall behind the camera for fill, put some diffusion on the 300 and hang it high and inline with the camera lens behind the subject. Drop a double scrim in it if the room is small. Use the last 650 with the barn doors and some color gel to change the tone of the background and compliment the guy's suit color, but drop the top barn door down and feather the light behind his head, that way you can see him better. Everytime I've used a dark blue for the background, corporate guys have loved it. Also, a deep CTB will knock down the 650 sufficiently such that it's not getting brighter than the subject. As far as the Divas are concerned, they're awesome, I think, but then again I've been using kino for years. You really have to get used to them. The 2-footers have no punch, but the falloff is so fast that they will literally only light your subject, and leave the background totally available for creative lighting with no spill. That's an awesome aspect. And they don't get hot in little rooms. I would love to have two Diva 400's and two 200's, and if I were rich, a couple Wall-o-lites to go through windows. ;D That would be a killer lite kit!
Hi Elvis, I would hit the guy 3/4 front and 3/4 high (45 degrees to the side and 45 degrees up) with the 1K Softbox for key, bounce the 650 fresnel off the wall behind the camera for fill, put some diffusion on the 300 and hang it high and inline with the camera lens behind the subject. Drop a double scrim in it if the room is small. Use the last 650 with the barn doors and some color gel to change the tone of the background and compliment the guy's suit color, but drop the top barn door down and feather the light behind his head, that way you can see him better. Everytime I've used a dark blue for the background, corporate guys have loved it. Also, a deep CTB will knock down the 650 sufficiently such that it's not getting brighter than the subject. As far as the Divas are concerned, they're awesome, I think, but then again I've been using kino for years. You really have to get used to them. The 2-footers have no punch, but the falloff is so fast that they will literally only light your subject, and leave the background totally available for creative lighting with no spill. That's an awesome aspect. And they don't get hot in little rooms. I would love to have two Diva 400's and two 200's, and if I were rich, a couple Wall-o-lites to go through windows. ;D That would be a killer lite kit!
filmmaker58
Well-known member
Re: If I can buy only one light??
A lawyers office. I assume he/she/it (I love lawyers) will be siitting on, or behind a desk, hopefully with a bookcase or some other lawyery stuff in the background.
Place the key (chimera) to one side of the camera anywhere from 3 to 6 feet, slightly higher than the talents head. If it is an off camera interview, and the subject is looking at an interviewer, rather than the camera, I like to sit the interviewer close to the camera and put the chimera either right next to, or over the interviewer, so the subject looks toward the light. You can play with the intensity of the key by moving it closer or farther from the talent. You're looking for a good balance to the background. If you expose for the talent with the light closer, the background will look darker, and visa versa.
For a backlight, I will suspend the 300 either from a ceiling clamp (http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=3569&is=REG) if it's a drop ceiling, or arm a c-stand out behind the talent and aim it at the back of their neck, so it gives separation from the background on their head and shoulders. The backlight should be four or five feet behind them, and well above to avoid getting flares in the lense. Use the top barndoor to take the light off the lense. If you don't have a clamp or c-stand yet. Put the light on a stand as far behind and abovre them as you can, off to the side just out of frame on the opposite side of the key. This now becomes a back/edge.
I'd use a 650 for a background light and make a slash across the books/wall/whatever. Sometimes I'll cut a pattern out of a small (18" x 24" or 2'x3') piece of foamcore (venetian blinds, etc.) to put in front of this light. (yet another c-stand required for this).
An edge light or kicker is done by setting a bounce card 3 feet behind the talent (again, a c-stand, or getting creative by poking a hole in the card and hanging it on a knob of a regular stand), just out of frame on the opposite side of the key, and bouncing a 650 into it. This card can be rather thin (10" x 24"), set vertically, as the "sweet spot" for the light is narrow. Sometimes I can get this edge by bouncing the light into the wall out of frame behind them (if it's whitish).
Now you're out of lights. What I do is have a small fixture (http://www.stage-n-studio.com/cat99_main.htm look under "Small Par Spots", they are around $25.00 each) that I use as a backlight, (these are really handy lights for shooting food shots, or creating pools of light in the background, I have a dozen of them) and this frees up the 300 in case I need a fill. Which i bounce into a card on the opposite side of the key.
Your subject should be well away from the wall behind them. If you can, don't shoot flat to the wall, but at a slight angle, and try to shoot the talent's good side (most people have one) and don't have their shoulders square to camera but slightly turned, with their heads turned to face camera, favoring their good side.
Some other things that I use is 1k hand dimmers that I made from stuff I got at hardware stores. This way I can easily dim the backlights etc. to match the scene.
I hope that explains the basic setup. Some variables are if the subject has glasses, you either have to raise the key, or move it off to the side and use a fill also, or if they have no hair, use less backlight (as it becomes a dome light..lol) and more edge. Good luck, and do some experimenting before your shoot if you can.
A lawyers office. I assume he/she/it (I love lawyers) will be siitting on, or behind a desk, hopefully with a bookcase or some other lawyery stuff in the background.
Place the key (chimera) to one side of the camera anywhere from 3 to 6 feet, slightly higher than the talents head. If it is an off camera interview, and the subject is looking at an interviewer, rather than the camera, I like to sit the interviewer close to the camera and put the chimera either right next to, or over the interviewer, so the subject looks toward the light. You can play with the intensity of the key by moving it closer or farther from the talent. You're looking for a good balance to the background. If you expose for the talent with the light closer, the background will look darker, and visa versa.
For a backlight, I will suspend the 300 either from a ceiling clamp (http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=3569&is=REG) if it's a drop ceiling, or arm a c-stand out behind the talent and aim it at the back of their neck, so it gives separation from the background on their head and shoulders. The backlight should be four or five feet behind them, and well above to avoid getting flares in the lense. Use the top barndoor to take the light off the lense. If you don't have a clamp or c-stand yet. Put the light on a stand as far behind and abovre them as you can, off to the side just out of frame on the opposite side of the key. This now becomes a back/edge.
I'd use a 650 for a background light and make a slash across the books/wall/whatever. Sometimes I'll cut a pattern out of a small (18" x 24" or 2'x3') piece of foamcore (venetian blinds, etc.) to put in front of this light. (yet another c-stand required for this).
An edge light or kicker is done by setting a bounce card 3 feet behind the talent (again, a c-stand, or getting creative by poking a hole in the card and hanging it on a knob of a regular stand), just out of frame on the opposite side of the key, and bouncing a 650 into it. This card can be rather thin (10" x 24"), set vertically, as the "sweet spot" for the light is narrow. Sometimes I can get this edge by bouncing the light into the wall out of frame behind them (if it's whitish).
Now you're out of lights. What I do is have a small fixture (http://www.stage-n-studio.com/cat99_main.htm look under "Small Par Spots", they are around $25.00 each) that I use as a backlight, (these are really handy lights for shooting food shots, or creating pools of light in the background, I have a dozen of them) and this frees up the 300 in case I need a fill. Which i bounce into a card on the opposite side of the key.
Your subject should be well away from the wall behind them. If you can, don't shoot flat to the wall, but at a slight angle, and try to shoot the talent's good side (most people have one) and don't have their shoulders square to camera but slightly turned, with their heads turned to face camera, favoring their good side.
Some other things that I use is 1k hand dimmers that I made from stuff I got at hardware stores. This way I can easily dim the backlights etc. to match the scene.
I hope that explains the basic setup. Some variables are if the subject has glasses, you either have to raise the key, or move it off to the side and use a fill also, or if they have no hair, use less backlight (as it becomes a dome light..lol) and more edge. Good luck, and do some experimenting before your shoot if you can.
filmmaker58
Well-known member
Re: If I can buy only one light??
15 to 20 minutes or so, but I'd have the talent ready an hour or two after call time so you have time to set up lights, camera, and sound . Another important tip: Use extention cords to spread out the power (run a couple from another room) as all of your lights on one 20amp circuit will pop a breaker.
15 to 20 minutes or so, but I'd have the talent ready an hour or two after call time so you have time to set up lights, camera, and sound . Another important tip: Use extention cords to spread out the power (run a couple from another room) as all of your lights on one 20amp circuit will pop a breaker.
Z
Zoomforce
Guest
Re: If I can buy only one light??
[quote author=filmmaker58 link=board=news;num=1073840957;start=25#26 date=01/13/04 at 12:37:21]15 to 20 minutes or so,.[/quote]
Jesus your quick. for a setup like that it would take me at least 45 minutes.
[quote author=filmmaker58 link=board=news;num=1073840957;start=25#26 date=01/13/04 at 12:37:21]15 to 20 minutes or so,.[/quote]
Jesus your quick. for a setup like that it would take me at least 45 minutes.
filmmaker58
Well-known member
Re: If I can buy only one light??
I usually have help, lol...but counting loading all of the equipment into the location, 45 minutes is probably more realistic. As I said, have talent ready 1 1/2 to 2 hours after call time, and that should give you plenty of time.
I usually have help, lol...but counting loading all of the equipment into the location, 45 minutes is probably more realistic. As I said, have talent ready 1 1/2 to 2 hours after call time, and that should give you plenty of time.
Carrington Benz
Well-known member
Re: If I can buy only one light??
WOw that was really cool knowledge delivery 8)
Could I now - get a tiny bit of help with my lighting dilema :-[ pretty please with sugar on top
I have 2 days & counting to go & although I have some good source of info here - I am looking for a quick fix to get this job done as best as I can with no budget
To Filmaker58 & anyone else who can help - This is the sort of thing I have to replicate: www.ego7.com check out the guys on the top right hand corner.The client wants the same sort of thing but without the need for a key ie: no blue screen needed just a white wall background with a guy conducting a presentation.
It can be best describe here : www.ego7.net wait for the page to load then click on "exec presentation" (looks like a tape reel icon)
How would you light the "talent" in the same way ? I only have the DVX100 e & a good bag - so what would I need to hire - in terms of lighting - how would I setup something cheap but passable to get this project done.
I have read up on small articles about 3 point lighting but this is the only knowledge I have - So just a brief workflow of what light kit to hire & how best to setup for this would be a real godsend
Cheers
WOw that was really cool knowledge delivery 8)
Could I now - get a tiny bit of help with my lighting dilema :-[ pretty please with sugar on top
I have 2 days & counting to go & although I have some good source of info here - I am looking for a quick fix to get this job done as best as I can with no budget
To Filmaker58 & anyone else who can help - This is the sort of thing I have to replicate: www.ego7.com check out the guys on the top right hand corner.The client wants the same sort of thing but without the need for a key ie: no blue screen needed just a white wall background with a guy conducting a presentation.
It can be best describe here : www.ego7.net wait for the page to load then click on "exec presentation" (looks like a tape reel icon)
How would you light the "talent" in the same way ? I only have the DVX100 e & a good bag - so what would I need to hire - in terms of lighting - how would I setup something cheap but passable to get this project done.
I have read up on small articles about 3 point lighting but this is the only knowledge I have - So just a brief workflow of what light kit to hire & how best to setup for this would be a real godsend
Cheers
filmmaker58
Well-known member
Re: If I can buy only one light??
Carrington, Well, to do better than that presentation, you don't have to do much. They had some kind of source to the talent's left (you could tell by the shine on his face...no makeup), and something high to his right (you could occasionally see it reflected in his glasses) with no real backlight or edge. The other ones in the upper right corner were also very simple, with a soft source which could have been light from a window on one side, with no other special lighting. So I assume that they will just cut them out off the white wall for the end product.
I would go with a large soft source as described above for the key and bounce a light off of the wall (small room with white walls right?) out of frame behind him for an edge. I read the other thread, and if there is a window, and you're shooting in the daytime, you're going to have color temperature issues when you use tungsten lights. Maybe it would be better to use the light from the window (not direct sunlight I hope) as the key, balance for daylight, and go with that. If so, you're edge from a light will be very warm unless you put blue color correction gel on it. Give me some more details about the location.
Carrington, Well, to do better than that presentation, you don't have to do much. They had some kind of source to the talent's left (you could tell by the shine on his face...no makeup), and something high to his right (you could occasionally see it reflected in his glasses) with no real backlight or edge. The other ones in the upper right corner were also very simple, with a soft source which could have been light from a window on one side, with no other special lighting. So I assume that they will just cut them out off the white wall for the end product.
I would go with a large soft source as described above for the key and bounce a light off of the wall (small room with white walls right?) out of frame behind him for an edge. I read the other thread, and if there is a window, and you're shooting in the daytime, you're going to have color temperature issues when you use tungsten lights. Maybe it would be better to use the light from the window (not direct sunlight I hope) as the key, balance for daylight, and go with that. If so, you're edge from a light will be very warm unless you put blue color correction gel on it. Give me some more details about the location.
Carrington Benz
Well-known member
Re: If I can buy only one light??
Cheers for this '58
Ok - well the irony of this - is that the whole office used to be a photograhpic workshop studio & there are heavy black curtains for all the windows.The room where the shoot will take place, is a small room with a large window on the right (pov from cam) no direct sun - then a white brick wall background & on the left , another glass window which is interior to another office.
So basicaly - I will have the talent in front of the cam with white back & window daylight to the right & hopefully no interfering light sources from the left of the talent.
On the other hand - I could pull the heavy black curtain over the window & attempt a more pro look ? or is this not the case ?
Like I said - no budget - but I would hire a basic light kit - if I have to. I just want to pull off my first job without a hitch
With daylight as a source onto the right of the talent - could I really get away with adjusting wht balance etc to achieve an acceptable result ?
Thanks again Filmaker 58 - a superhero
I think more stars should be appropiate for '58 - anybody else ?
Cheers for this '58
Ok - well the irony of this - is that the whole office used to be a photograhpic workshop studio & there are heavy black curtains for all the windows.The room where the shoot will take place, is a small room with a large window on the right (pov from cam) no direct sun - then a white brick wall background & on the left , another glass window which is interior to another office.
So basicaly - I will have the talent in front of the cam with white back & window daylight to the right & hopefully no interfering light sources from the left of the talent.
On the other hand - I could pull the heavy black curtain over the window & attempt a more pro look ? or is this not the case ?
Like I said - no budget - but I would hire a basic light kit - if I have to. I just want to pull off my first job without a hitch
With daylight as a source onto the right of the talent - could I really get away with adjusting wht balance etc to achieve an acceptable result ?
Thanks again Filmaker 58 - a superhero
I think more stars should be appropiate for '58 - anybody else ?
Steve Ogden
Well-known member
Re: If I can buy only one light??
Here’s a twist on the interview lighting questions: I’m shooting interviews with aging veterans about their experiences in the early days of Vietnam. I purchased the Arri kit (bite the bullet now rather than suffer forever – right on, Filmaker58) but got one with a 650, 300 & 150w instead of the 1000 watt (oh well.) When starting my first interview, having set up with the Chimera over my left shoulder & slightly above head level (it’s a one man show. . .interview & operate camera), the key light caused the subject so much discomfort, he couldn’t look in the direction of the light. I quickly moved the key to his side – and while it wasn’t the look I wanted, at least he could talk without discomfort. I don’t know his reaction was unique to him, but with several more of these guys (ages 75 – 80) to interview, I want to be ready with a good ‘plan b’. How would you modify the 3-light set up so the light isn’t so much in their eyes?
Here’s a twist on the interview lighting questions: I’m shooting interviews with aging veterans about their experiences in the early days of Vietnam. I purchased the Arri kit (bite the bullet now rather than suffer forever – right on, Filmaker58) but got one with a 650, 300 & 150w instead of the 1000 watt (oh well.) When starting my first interview, having set up with the Chimera over my left shoulder & slightly above head level (it’s a one man show. . .interview & operate camera), the key light caused the subject so much discomfort, he couldn’t look in the direction of the light. I quickly moved the key to his side – and while it wasn’t the look I wanted, at least he could talk without discomfort. I don’t know his reaction was unique to him, but with several more of these guys (ages 75 – 80) to interview, I want to be ready with a good ‘plan b’. How would you modify the 3-light set up so the light isn’t so much in their eyes?
J.R. Hudson
Spirit Animal
Re: If I can buy only one light??
Don't know if you have a C-stand, but have you tried BOUNCING the light on him as oppossed to DIRECTING it on him?
Don't know if you have a C-stand, but have you tried BOUNCING the light on him as oppossed to DIRECTING it on him?
Steve Ogden
Well-known member
Re: If I can buy only one light??
John, I'll sure experiment with that before I go out for the next shoot. I had practiced the set up, but not real people. Scares me to wonder what other newbie mistakes are lurking out there. . .
John, I'll sure experiment with that before I go out for the next shoot. I had practiced the set up, but not real people. Scares me to wonder what other newbie mistakes are lurking out there. . .
filmmaker58
Well-known member
Re: If I can buy only one light??
Carrington, I'd rent an arri kit and close the curtain and try a setup like the one I described above.
Sfogden..The kit you have is fine for the DVX, you don't need the extra punch from the 1k in most situations. The 650 chimera was too much for him? Sensitive eyes. Bouncing a light is a good suggestion, but also you should have lots of fstop to open up if you need to, so try to add a scrim, or get a hand dimmer to lower the light level until they are comfortable. Although if they're wearing glasses you may have to move the key to the side anyway.
I like to have the key slightly to one side, so it gets both eyes, but leaves one side of their heads in some shadow.
I just did some interviews for an upcoming UFC fight (Tito Ortiz and Chuck LeDell) and used no fill at all, just an edge and backlight. This looks a little more moody than if you use a fill.
Carrington, I'd rent an arri kit and close the curtain and try a setup like the one I described above.
Sfogden..The kit you have is fine for the DVX, you don't need the extra punch from the 1k in most situations. The 650 chimera was too much for him? Sensitive eyes. Bouncing a light is a good suggestion, but also you should have lots of fstop to open up if you need to, so try to add a scrim, or get a hand dimmer to lower the light level until they are comfortable. Although if they're wearing glasses you may have to move the key to the side anyway.
I like to have the key slightly to one side, so it gets both eyes, but leaves one side of their heads in some shadow.
I just did some interviews for an upcoming UFC fight (Tito Ortiz and Chuck LeDell) and used no fill at all, just an edge and backlight. This looks a little more moody than if you use a fill.
Steve Ogden
Well-known member
Re: If I can buy only one light??
Thanks for the suggestions!
I was surprised at his reaction -and sure hoped it was sensitive eyes and not the lighting. Was able to get a reflector on the shadow side so it didn't get too dark over there, but what I lost (grrrrr) was the catch-lights in the eyes. Can still see the eyes fine, just not the sparkle.
I'm looking at c stands - here's a couple I found:
http://store.yahoo.com/cinemasupplies/cstan40doubr1.html
http://store.yahoo.com/cinemasupplies/censtancstan.html
Which would be better?
Thanks for the suggestions!
I was surprised at his reaction -and sure hoped it was sensitive eyes and not the lighting. Was able to get a reflector on the shadow side so it didn't get too dark over there, but what I lost (grrrrr) was the catch-lights in the eyes. Can still see the eyes fine, just not the sparkle.
I'm looking at c stands - here's a couple I found:
http://store.yahoo.com/cinemasupplies/cstan40doubr1.html
http://store.yahoo.com/cinemasupplies/censtancstan.html
Which would be better?
filmmaker58
Well-known member
Re: If I can buy only one light??
The second one is better only because you need the grip head also. The first one looked like it was just the stand. Both the turtle base (you can remove the post and use the base as a low junior mount) and the sliding leg (you can set up the stand on hills and stairs) models have their uses. But without the grip head and arm, a c-stand is just a stand. I like American and Mattews, but also take a look at Manfrotto, as it's good stuff, but sometimes a little cheaper. Also try ebay.
The second one is better only because you need the grip head also. The first one looked like it was just the stand. Both the turtle base (you can remove the post and use the base as a low junior mount) and the sliding leg (you can set up the stand on hills and stairs) models have their uses. But without the grip head and arm, a c-stand is just a stand. I like American and Mattews, but also take a look at Manfrotto, as it's good stuff, but sometimes a little cheaper. Also try ebay.