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Interview light setup test

J

Joe Cage

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Hello,

I got an interview coming up Thursday. And I just did a quick 2 light setup at my house as a test. I was going for a Rembrandt keylight (Aputure ls1s with small softbox) and a back/rim light(quasar science crossfade).
first picture is without the quasar science. But I do feel like I kinda messed up the Rembrandt lighting, I should pay more attention to it on the actual shoot. Where did I go wrong? (higher, closer, more to the back with the keylight,

Thanks!
 
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What's the interview about? What will your background look like? What will your subject look like?

Just out of instinct/preference I probably would go for something a bit softer than what you have going with your key right now. But depending on the content of the interview, the contrast could work. But I'd diffuse the LS1s again through something larger. Or using the Quasar tube (or more if you have more) for the key.

I'm personally not much of a fan of a kicker or a rim unless the subject is really getting lost in the background. In your first example I would say this is not happening. If you definitely want it there, I'd like to see it dimmed down quite a bit. It looks a little too "news studio" for me if that makes sense.

Also, I don't know if you were intending more of a side kicker or a true backlight. Because it's pretty evident to the viewer the quasar tube is just out of frame to her right and not behind her.
 
I agree with much of what Arron says, the Kicker is too much and too sidey. Its also flaring the frame which eats into your shaded area on her face, and also looks like spread into the back ground mood as well. Soften that key lite some more, will made it more Rembrandt like. Beat down that kicker, bring more behind or turn it off all together. It is nice to have some separation between the darker side of the face/hair and whatever its against. But that separation can be color difference or a slight brighter place on the back ground if you go without a back light (which you have in the first frame). or the back light can be so subtle as to just barely be able to see the separation. Many ways to make it nice and more natural feeling and not over light. When it doubt.... turn it out. ;)
 
I think a softer, more flattering light will help, plus shooting into the shadow side of the face is generally more "dramatic" for interviews. I use 60 Minutes as the gold standard on how to do this nowadays, and they are masters at getting a really good look out of their interview subjects. Negative fill on the shadow side could help, plus maybe a little bounce from the front as fill. I have seen some expert DPs use a backlight to rim the subject's head, and then bounce the spill back at the subject from the front. (I worked on some interviews at the ASC clubhouse some years ago and was surprised to see this handy trick used by one of the award-winning DPs there.)
 
Thanks for all the feedback.
I just got a picture from the location. So Im not sure if the windows have blinders on it. Everything does seem white and pretty small. I could just place the interviewee on that small table and chair. Move it a bit in the center of the room and place a giant diffuser in front of the windows, and just use the natural light coming in as a keylight. and maybe just use negative fill on the left side. Probably it is possible to put a grey blackdrop on the white wall. Any suggestions?
2ecnltu.jpg
 
Zeb B said:
https://www.google.com/search?q=int...hWKrlQKHbmoDN8Q_AUIEigC&biw=375&bih=626&dpr=3
Click to expand...

Yeah thanks why didnt I think of that :). I get it though interview lighting setups in general are not that exiting and it is prob a common question but every situation is different. This is actually my first interview ever, and the location is not that ideal to work with these smaller kinda lights. So I find it also interesting how others are tackling these kind of issues. I want it to make as best as possible, not that I plan to do more interviews anytime soon, but surely want to leave my stamp on it and hopefully not in a bad way :)
 
Depending on weather conditions and the length of time you'll be conducting the interview, it's possible to use the window light as your key. But be wary of the risks involved in that with cloud cover and sun position changing constantly. If the window is on the shadow side of the building, you'll have more time to work with.

Negative fill is going to be your best friend in a room like that.

Interviews with smaller lights are okay, because your subject isn't moving much in 3D space. That will allow you to control and design the light for that specific seating position. We typically like bigger and brighter sources on this forum because our actors are walking around in a space and we're trying to minimize falloff.

Which way you think you'll be shooting? Do you have a photo from the other side of the room?
 
Hey Aaron,

Behind the camera is also a white wall with a door, so its a white box with windows. Yeah I will check out where the sun will be moving on set. So I will be shooting in the same direction as the picture. (maybe place a black backdrop in front of the white backwall, if possible. Not sure, I need to check what the client prefers as well on set (white or black).

Ok I just did a small test again, this time with the quasar science tube as the keylight.
First picture is just taped straight onto a tripod(35mm), the second one is me holding it at an angle above her(70mm, I did seem to hit the lens a bit with light it seems, I am surprised hitting the lens with light has such a dramatic impact, I am also missing an eyecatch so probably angled the tube wrongly, or the 70-200 is more prone to light)

I think I can get away with the sigma 18-35mm lens instead of the canon 70-200mm depending where the natural light is flooding from + what my backdrop will be.

The crossfade seems to be softer then my softbox so I might switch it up and use the tube as a key isntead depending on the natural light.
 
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