Interview lighting kit, easy to travel with.

[John Nantz]

After reading Arthur's last post where he mentioned the use of an umbrella/silver side, I was just wondering if by any chance the reflective surface (silver in this case) would have any effect on negating some of the color spikes in LEDs, specifically the green spike?

I know this is probably wishful thinking but I'm groping at straws to find an easy way to deal with the un-wanted color spikes up front rather than deal with them later. I've tried gelling the LEDs and this helps, but some of the green still gets through.

For info, I'm using Cool Light CL-LeD600 Dimmables CL-LED600 600 LED Panel Dimmable - Cool Lights USA (but I don't take them on a plane).

I suspect the reflector would make no more difference than the gel but I thought I'd ask anyway.

[Steve Grimshaw]

Hi. I have read with great interest your views on lighting and wonder if you could advise me on my own lighting problem. I am new to this whole game so any tips would be greatly appreciated. I am setting up a studio for video interview and have purchased an economy three light setup with softboxes. There seams to be plenty of controllable light, which I am sure will fit my purpose but the problem is with the hair light - I simply do not have enough headroom to keep the soft box out of shot. Reading through the forums I am realizing that this is a bit of a science and am worried about mixing different lights. Thanks in advance. Steve

[Arthur Gannis]

"but the problem is with the hair light - I simply do not have enough headroom to keep the soft box out of shot"
Are you using a softbox for a hairlight? How many persons are in the interview ?
I usually use a narrowish beam or spotlight that is either hidden behind the talent or placed somewhere at a distance out of view, The trick is a narrow beam just for 1 person interview, unless you have several, then it's another matter.

[Steve Grimshaw]

Hi Arthur
Thanks for your reply. In my studio situation, it will only ever be one person, possibly demonstrating a product and almost certainly - they will be moving around - although this will be in a predictable and controllable manner. I was kind of liking the sound of your suggestion, with a narrow beam for the hair light, but now that I have given you more detail I am thinking I may have changed your view? What I imagine that I need is a large area of diffused, soft lighrt directly above the tallent and very close to the ceiling. I suppose a reflecter would be just too simple?

[John Nantz]

Steve - Ah-Ha! Since it is YOUR studio the solution is simple. Buy a large cheap mirror (used?) and screw it to the ceiling and just bounce the light off the mirror!

If the hair light is a spot this could be a work-around.

[Arthur Gannis]

I can imagine a setup like a TV cooking show where the cook moves around the confines of a small kitchen showing in detail the food as it is being prepared. If I am correct in that assumption then perhaps a large area evenly lit will be required. Same lighting as a product demonstration involving cooking appliances, small movements in a predetermined area. No need to adjust the lighting once it is set in place. Perhaps the overhead softbox is not needed after all, but 2 large ones at 45 degrees towards the set and placed close enough and slightly elevated as to not be in the frame. I have seen large ones being almost 6ft. in height.

[Steve Grimshaw]

Originally Posted by John Nantz

Steve - Ah-Ha! Since it is YOUR studio the solution is simple. Buy a large cheap mirror (used?) and screw it to the ceiling and just bounce the light off the mirror!

If the hair light is a spot this could be a work-around.

Hello John. Many thaks for this seemingly brilliant solution to my lighting problem which makes sense to me and is something I can see some experimenting with. Now here's a new problem - not quite sure how to tell the wife about the "mirror on the ceiling" thing! Could prove interesting!! Keep you posted - Cheers Steve

[Steve Grimshaw]

Originally Posted by Arthur Gannis

I can imagine a setup like a TV cooking show where the cook moves around the confines of a small kitchen showing in detail the food as it is being prepared. If I am correct in that assumption then perhaps a large area evenly lit will be required. Same lighting as a product demonstration involving cooking appliances, small movements in a predetermined area. No need to adjust the lighting once it is set in place. Perhaps the overhead softbox is not needed after all, but 2 large ones at 45 degrees towards the set and placed close enough and slightly elevated as to not be in the frame. I have seen large ones being almost 6ft. in height.

Hello Arthur
I think your vision of my studio setup is very close to the mark. Can you imagine how "under the moon" I was when it dawned on me that my room wasn't high enough? So many thanks to you guys for showing a complete novice that there is always a workaround. It has been a real boost talking to you and to my confidence also. I will be trying the lighting setup as you suggest and who knows - I may try my own version as well. Thanks again - Steve

[Arthur Gannis]

Ahhhhhhhh....Necessity is the mother of invention !!
Keep us posted on how you make out.

[Neil McClure]

Getting back to the original post. I recently had a job involving 16 interviews in 3 different states over 4 days, each location mostly involved walking between shoots.

This was all solo work with a 30 minute set-up, so having an easy, quick lighting setup was crucial (hair lights... forget it). Much of my work (non-broadcast) does involve filming in reception areas, boardrooms etc. with inexperienced talent AND client so I had no hesitation in looking at a LED solution.

So I bought 2 "312 LED Dimmable" lights off ebay, reckoning that you need at leads 500 LEDS (maybe a redhead equivalent ) to illuminate the subject. These lights can be assembled together. I also had a small light-weight stand. The second purchase was a Photoflex liteDome XS which with a bit of modification and a bit of gaffer tape allowed me to soften the light to a decent level, I also used 2 or 3 LED 120's as fill and to light the backgound when necessary.

All the lights, stands and other stuff I did not use was packed into a Sony Camera bag, All up 3 bags including Tripod and a Camera backpack. Next time I will get it down to 2. Yes I would love a litepanels fresnel and a reflector but I'm waiting for the Chinese to come to the party. Will I post the videos to vimeo... No. Was the client happy.. Yes.

[Paul Hildebrandt]

Neil, I hear you on that. I've shot some stuff with cheaper LEDs before, simply because I needed lighting. Right now I have a very important personal project that I need broadcast quality lighting for, so I probably won't be using any of my ephoto stuff.

[Bob Willis]

Paul, take a look at the Litepanels Sola ENG Kit with 3 lights, stands in a travel pelican case.

[John Nantz]

Hey Steve!

Originally Posted by Steve Grimshaw

Hello John. Many thaks for this seemingly brilliant solution to my lighting problem which makes sense to me and is something I can see some experimenting with. Now here's a new problem - not quite sure how to tell the wife about the "mirror on the ceiling" thing! Could prove interesting!! Keep you posted - Cheers Steve

I feel your concern. Realize this is a really tough and dicey situation and you have to be REALLY CAREFUL how you go about it with your significant other. Video, audio, lighting, and editing is not easy but it is something that with a lot of work and experience one can improve upon. Having said that, Women, on the other hand, constantly represent new territory and a whole new ball game. Now here is another thought:

Forget saving money and buying A used mirror for the ceiling. Instead, now this is going to cost more but it will save a ton of money and frustration in the long term, go and buy TWO New mirrors, both the same size. You don't want to be accused of playing favorites and give your studio a larger mirror! Nor do you want to have to explain why you installed a smaller mirror on the studio ceiling!

Go ahead an install the studio mirror and keep the second one off to the side but handy as though you would be getting around to it. If the S-O then makes a comment about being a second-class person, or comments about how the studio always gets the good stuff, or that she's always neglected, then brake out the second mirror and explain you've really been running ragged getting work done (so you can take care of her) and then discuss how she'd like it installed.

Disclaimer: I'm no psychologist and this aspect breaks (somewhat) new ground so please proceed at your own risk. However, having said that, I do have a lot of experience dealing with the she-sex, and not always with a positive outcome! Good Luck (you might need it).

One positive thought: The worst case scenario is you'll always have your studio to go back to.

[Steve Grimshaw]

John

I like your thinking - it might just work. I am quite fortunate in that my "SO" is very understanding... As I keep telling her - she is the best wife I've had so far. I will definitely keep you informed and have already moved supplies into the studio.