What would be your recommendation for lighting interviews and piece to cameras : 1 case light as key, caselight with eggcrate as fill and Prolight for back/highlight? The problem I foresee is most shooting is corporate office under the office flouros, the caselights are fitted with daylight globes I will need a diochroic filter to match the Prolight.

I'm walking into a new area and will be working with already purchased kit - the options I can specify may be scrims,gels etc.

Mark

the caselights are fitted with daylight globes I will need a diochroic filter to match the Prolight.

Mark

Either re-tube the caselights to 3200k or gel the Prolight.

Or use the ProLight uncorrected, realizing it will add a "warm glow" to your backlight. I mix colour temp all the time BUT I've been lighting for 11 years and have STARTED to get the hang of visualizing what it will look like before I throw up a monitor.

As a side note: if your case lights are identical wattage, try to use one of them at twice the distance from your subject than the other. This will give you a key-to-fill ratio that will allow for some texture and detail UNLESS you are specifically looking for VERY flat lighting (not my PERSONAL favourite look...)

I always use the Pro Light as an uncorrected hair light when using my Cool Lights LED600s or my homemade Kino Diva 200s with Kino 5500 tubes as key/fill. I love the warm gold/amber hair light, it is very flattering for most people.

If it's too much, I throw a piece of 1/4 or 1/2 CTB to tone it down if needed.

Dan

Most offices I have shot in seem to have fluorescents that are around 4500K, some even cooler, and there's usually some significant daylight mixed in. So I normally shoot daylight (with Flolight 500LEDs). When I mix in tungsten, I do as suggested above and use 1/2 CTB so it's a little warm.

I'm using the Pro light with the either a full CTB or 1/2 CTB gel mixed with a Caselight for the key. I almost always find myself using one of these cool little $20 dimmers on the Pro as once I get that backlight high up on a boom arm, it's easier just to dial in the right amount light from the ground than it is to take it back down and adjust scrims or barndoors. Here is an inexpensive dimmer that works well - Harbor Freight Tools - Quality Tools at the Lowest Prices (http://www.harborfreight.com/cpi/ctaf/displayitem.taf?Itemnumber=43060) Remember, that as you dim the light, it will get warmer.

When I shoot in a corporate environment, I always kill the office flourescents. And I agree with others that the ProLight works great as a rim or hair light under most circumstances. Occasionally, I might add CTB to the ProLight. It is a lot easier than adding CTO to bigger lights. And any daylight that may spill in works much better with the daylight lamps.

Thank you for all for the discussion - unfortunately my carefully considered plan is out the window my stomach is turning knots with what is now happening. They want me to shoot the head of the department and his 3 his deputies...all that has arrived is 1 x lightstand, 1 caselight2, 1 prolight (w/ barndoor, diochroic filter + holder)

I'm told I can borrow a flood and a spot from another department. OMG - way overkill for MCU/CU and no gels for the 1 caselight2. Bounce? The room is lined with gold drapes.

We have to shoot in a room with no window because the exec are all avail at different times from late pm to early evening.

This is high risk as previously they outsourced @ $10k a pop. Without appropriate tools I'm going to look bad. I've studied the theory, but I'm not practiced in elaborate lighting. Holy...
If lay it on the line with advice as above then maybe the decision will be made to abandon the job---but they just spent $$ on the internal capability (2xHVR-Z5, Lowell, MacPro, MacBook Pro, so it's not what they want to hear.

No problem - as long as you have a light it's possible to do good lighting, and you have two!

In your situation I'd use the caselight as key and go get a big foamcore from your local office supply to bounce your fill. The bounce from the caselight might not be enough for fill though on it's own. Throw the pro light high and behind on the same side as the caselight, so it acts as an edge while also pointing straight at the bounce card. White balance to the caselight and the pro light will give you a warm edge light and warmish fill which should look fine.

The challenge: ea of 3 execs will be filmed separately as if they are having conversational-style interview with the CEO. Examples I've seen of this are lit as if the primary light source is between & little behind two people turned roughly 45 degrees talking to ea other. The third exec comes in after two - so continuity is now a whole new concern as I'm having to reset light depending on the if the CEO is seated R and his deputies taking turns on the L.