OT: Lights

UlfLaursen wrote on 7/18/2009, 10:59 PM
Hi

Some years back I got this kit:

http://www.bhphotovideo.com/c/product/529890-REG/Interfit_INT114_SXT3200_Two_Flood_Light.html

It has as shown 2 500W lights, tripods and 2 umbrellas for each lap, so I can make it black, silver or white.

Is this somehow useable for interview video lightning?

I have tried it in different combinations, but I think it is hard to make it right.

Should I maybe get some mores accessories for it, like softbox perhaps?

Thanks for any input on this, I just got the DVD on lightning interviews from Vortex Media, but they do not talk about umbrellas at all, and I have a hard time to fit my kit into something usefull. I think I just need to be lead in the right direction, and would like to use at least something from my existing kit.

Thanks.

/Ulf

Comments

Grazie wrote on 7/18/2009, 11:34 PM
My only concern is I don't know how you would necessarily provide for a back light with this setup? Would you position one of the brollies to the rear?

I have one softie and one Dedo light. I use reflectors a lot and bounce light about.

Check out Guy's video below. This is very close to my own approach and has got me through most interviews. I also have a 50watt on camera light that I DO use to pick up areas. It has its own 12 volt lead acid battery. It's very flexible and just adds that "pop" you need on a particular area - either in front OR behind as a rear of head/crown light. Reflectors, on theior own stands - marvellous!



Grazie
farss wrote on 7/19/2009, 12:31 AM
I've got almost the same thing. I bough a couple of umbrellas cheap out of a bargain bin. They fit into the lamp holders I've had for ages. Screw 70W CFL lamps into the holders and it's just enough to light an interview. If I want a hair light, another lamp holder and a 20W PAR lamp, job done and it all pretty much fits in an el cheap tool box. Whole idea pretty much inspited by Victor Milt and his lighting DVD.
Sure it ain't flash but I can borrow much more serious kit. Only problem with umbrellas is you can't control the spill. Big cutters would do it but that's not overly practical. Still light is light and all that matters is what the camera sees. Pull your kit out and try it. Too much snobbery in my opinion when it comes to lighting. Of course it's nice to have the big boys toys, it's justified when you've got a crew and two grips trucks and charge $10K / day. Just don't loose sight of trusting your own eyes.

As for softboxes. Not a good mix with tungsten lamps from what I've seen. All that heat trapped inside means the softboxes don't last. Put them onto HMIs and you're good to go but that's a whole new world of cost involved. Also I've not seen that much difference between the light from a softbox and an umbrella unless you add grids to the softbox and they cost too. So I'll say again, try what you've got before fretting over what anyone says you should have.

I agree with Grazie, one more light could be good but it doesn't need to cost much at all.

Only caveat to what I'm saying is client expectations. If they're used to high rent crews and big cameras then you do need to look serious.

Bob.
Serena wrote on 7/19/2009, 1:28 AM
You might be interested in Victor Milt's instructional DVD: Light It Right[/link]. Lighting a person with bad skin is a different ball game.
UlfLaursen wrote on 7/19/2009, 6:34 AM
Thanks all for your input. I'll try and play more with it.

After seeing the video you pointed to, Grazie, I see I might need one light with barn doors for backlight.

I can use one umbrella lamp with white for keylight and one for the extra light or get a flex peice in gold as the video shows.
I only need one extra light with barndoors for backlight, like both you and Bob points out, right? Any recommendations for a god one? I think I can use the tripod I already have for my 2nd "umbrella light".

Thanks.

/Ulf
Coursedesign wrote on 7/19/2009, 8:08 AM
Bob is right that umbrellas spill light a lot.

All over the place to be exact.

I struggled mightily with this for a long time, then gave up and turned my then nicest-looking umbrella into a ceiling lamp shade (the room had an 11 ft. ceiling). Looked great and everyone asked where I had bought "that gorgeous designer lamp." :O)

The philosophical question for lighting interviews is whether to use lightboxes (with egg crates!) or Fresnels bouncing off white foam core.

They both have advantages. Foam core bouncing used to be extremely common in Hollywood, now it is more common to see Lightpanels (LED) for moderately sized scenes.

(If you need the light of a Mole 20K, there is no LED equivalent yet).

If you intend to use China balls (like in the video above), try to get a professional unit (they're not expensive). Many people have been hurt by fires caused by furniture store "firestarter paper balls" (rated at 60-100W) getting overheated by 250W bulbs.

But, if you're doing interviews, please at least consider using daylight!

For my best lit interviews, I just sat the interviewee a few feet from a large window, with the daylight coming in from their best side. A collapsible white reflector on the other side provided fill. Gorgeous. And all the lighting gear stayed in my car...