Lighting interview in front of windows.

plaine

Member
Ok, so I realize this is not an ideal circumstance, and I'll be doing what I can within my power to advise against this, BUT, it may be a situation that I'll have to deal my best with and warn adequately upfront.

I'll need to shoot an interview (interior shot) with the subject with their back to a large window. As in, the whole side of the building is just a window. Other buildings and city in the background, the sun will not be directly blaring in the window at any point. I'm on an HVX200 and had the chance to do a brief test shot with no lighting of any sort when scouting locations. I was honestly very impressed with how it handled it. Looked terrible, of course, but I was impressed with the camera's terribleness and how much less terrible it was than I expected. :)

The interview will be sometime in the middle of the day, between 11am and 2pm. Obviously, I want to preserve as much detail in the background (the city scape) as possible. The most important is foreground (the subject talking) of course so I want that to be my primary consideration. I don't want to blow out the background though, I know that would be the easiest.

I'm going to need to light or reflect light on the subject, of course. But don't want to kill the background. Also, I have the light temp to consider with the sunlight outside (hopefully it'll be overcast or completely clear so I don't have to worry about that changing on me often), conflicting with the light inside. There weren't bright lights inside, they rely mostly on the sun coming in to light the area. Reflection of the light back into the window, is also a concern of mine.

I have at my disposal, a large Flexfill disc, white/silver. Was considering see how much bounce i could get from available light coming in. I also have a Lowel Rifa-lite 55 softbox, with egg crate. 500w, but also available bulbs at lower wattage. I'll be shooting in 720p24n, probably on a custom scene setting which is close to the Cine-D preset.

I'm going out to test both next week, a week prior to the actual shoot. So, I'll know for more certainty exactly what will work best, if I can even execute this to the degree of quality that I'd like. Any thoughts or advice for me? I'd appreciate it.
 
None of that is likely to help. What you need is a proper 1200w HMI in a Chimera softbox. Barring that, get something like a couple of 4' 4-bank Kino Flos with daylight tubes. Probably cost a couple hundred dollars to rent for the day, but it'll make the difference between "brilliant" and "unusable".
 
What is the shot scale and why did they give you this nightmare set up?

If you can get away with a medium close up, zoom in as far as you feel comfortable to compress space and cover the appropriate part of the window with combo CTO and ND gel. Of course, you'll have to strategically choose the part of the city the viewer sees and move the camera and subject to accomdate this set up. Then you can light with tungsten thereafter. The closer the shot scale, the closer you can put the lights, too. This would be the cheapest option; Barry's is obviously better but pricey.
 
Is the landscape of any importance for the content of the interview, or why do you want to keep it in the shot?
Just thinking, the closer you could frame the person (eg classical portrait) the less light you´ll have to bring/the closer you can put the light to the subject...
I think it could be done with only one 4x4 kino adding fill, the BG will go out of focus, but won´t blow out... will yield a very natural look nothing fancy (3point aso)
Otherwise Barry´s said it all already...
Edit: Policar was faster:o)
 
thanks

thanks

I don't want to do the shot at all. The background isn't all that great, the setup neither. I'll be advising as such, as mentioned. I don't want to have to, but if the person calling the shots on this has their way, I'll have to at least shoot it so they can see for themselves what a bad idea it is. I plan on shooting a TON of interviews elsewhere, so that when they see how bad this looks (considering the budget), the obvious choice will to be to go with some other shot. I could very well convince them, I just wanted some pointers in the event they didn't believe me without showing them first. ;) thanks!
 
Policar's idea is great; I just wonder about spill light and having mixed color temperature on the face. If you're only gelling out a 3' x 3' patch, that still means a ton of blue light is coming in and bouncing off the walls and whatnot. Unless you can block out the rest of the window using some manner of black fabric; if you could pull that off then yes this could be an ideal no-budget solution.
 
Personally I dont think this is such a bad set up, after all you already have a nice backlight available for free:)
Rather than deal with gels on windows etc. why not let the producer know, to do this justice, you will need a specific light to make it look good. Rent a joker bug 400 with a softbox. That should give you a nice key and then use a bounce for fill, or if you need more use your lowell with some full CTB. Here's a link to a rental house in New Orleans that has joker 200's & 400's.

http://www.verrents.com/lighting.php
 
I'm with OZduc on this one. Barry, your on the money, but a well positioned 400 joker should work fine. The only problem I see is a reflection from this key light in the window. I would also rent/ use a 4x4 floppy(large black flag) to block off any reflections on the window. This light may need to be very close to your subject, given the bright window. It would be nice to ND the glass prior to the shoot, but only Plaine(our question poster) can tell us if he has the time, if the window in question can be gelled, given the location. I do like the idea of gelling only the portion seen on camera, if you can get away with not showing the entire window, but I'm with Barry on the extra spill from the areas not gelled would cause WB issues..
 
Why not just throw a large piece ND on the glass and take it down a few stops. Always works for me. Just get a roll of ND, spray some water mist on the glass, and squeegy it out. Works like a charm and you can keep all your background in clear color and it cuts down on the light spill.
 
I had the same set up a couple years ago. I told the producer if he gets one thing and one thing only get a roll of ND. What does he do? Decide not to get it because the rental rate was too high. Instead the bonehead buys MiniDV tapes from them at $35 a pop. Great. So all of this work (that he did) to get the right room in the right hotel with the subject building in the bkg was worthless. I ended up putting my 650 about 12" away from the interviewees face. Compromised on the exposure of the bkg and compromised on white balance cause i needed every bit of that 650. It looked like crap. The really bad part is my name was listed on the credits. Ouch!
 
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