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Lighting for a Sitcom
Hello lovely Cows. I have another question for those of you who have a much larger field vocabulary than me.
I am DP’ing a sitcom pilot very soon and would like to hear what some of the equipment I would need to properly rig this room WITHOUT screwing into the walls because my Producers dont want to pay for the insurance or just let me fix it with some simple mud and paint when the shoot was done.
Anyway, the layout of the room first
The cameras will be shooting the room from the bottom of the picture, with the windows at the back. The windows are large floor to ceiling windows with NEVER ANY DIRECT SUNLIGHT at the back of the camera. However, as you can see, I will be needing to backlight the talent, and without being able to screw some spuds into the wall, I’ll need something more temporary.
So I was thinking (and i’ve seen and used these before, but NO idea what they are called) are those wooden 2×4 spreaders that act like a shower rod to span the upper right door enclave. Then using a large clamp like system with a pipe about the size of a grid pipe, to clamp around the large fireplace outcrop. Up there using zip lights to backlight.
For main flat lighting, using 2 30″ jem balls (or if you have better suggestions) staged even with the cameras and put on a long boom near the ceiling of 20ft.
Finally, behind cam outside the windows (which I just noticed they arent in the picture. There are two windows at the bottom of the room about 6ft wide, 20ft tall), using a few more zip lights to blast through the windows and use as a good front light. And to fake a window, cover the door on the left with some temp curtains and a large 9 or 12 PAR Maxi Brute.
All lights would be corrected with CTB full to match the windows behind camera and then the BRUTE would be probably 1 1/2 CTB.
Let me know what you guys think.
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26 Replies
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Weird how the meaning of “DP” seams to have evolved.
One would have traditionally assumed that along the way from 2nd AC, to 1st AC to Operator then finally – after many, many years of dedicated practice and mastery – to DP you might have come across the knowledge to confront many of your questions.
But then, I’m just a “producer.” And everyone understands that the term has actually come to mean “related to or sleeping with someone important in the cast or executive group.”
SIGH.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Conner
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But then what would be the point of having such forums, Bill? I think it’s interesting to have someone post their specific challenges out there to the world no matter what level they are. That’s why we are all here. As far as the DP terminology, I’ve struggled with that for years. Even though I’ve been lighting and shooting for over twenty years, I struggle to give myself the same title as say, a Volmos Zsigmond. But the reality is, like it or not, titles and positions these days are all over the place. Sounds like William (also a Bill?) is facing some kind of lighting challenge alone where he should have at least a crew of helpers – a key grip to worry about mounting the lights, and a gaffer to worry about what lights to mount, each with their own respective team members. But the truth is, some client has asked him to light this room – perhaps alone. And whether he calls himself a DP or videographer, he has a job to do. And it’s up to us COW members to help him. So all of that being said, I have no idea how you should mount those back lights to the wall. Ask a grip! 🙂
Seriously, you might be more concerned with your client’s claim of lack of insurance than anything. Mounting the lights to walls might be the way to go if you are using this room over and over again. Otherwise you can use well hidden c-stands. By the way, if you are “DPing” a pilot for a sitcom, why don’t you have a crew? Is this a teaser thing where they are asking you to work for free to show a sizzle reel to try to get a pilot sold?
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
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Typo – I meant of course Vilmos Zsigmond. I don’t know about his brother Volmos…
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
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Lowel makes a range of portable lighting equipment that doesn’t require permanent mounting. So do others, but the ones I’ve used are from Lowel.
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First. I’m not entirely sure how to respond to Bill. I suppose that yes, you do become an “expert” in whatever field you are in after many many years of doing that particular position and positions relating to it within the department or field. However, I also subscribe to the view that experience does not breed talent, and talent is something that I do possess (I’ll play the ego stroking game. Ha.) With these two views, I am aiming to gain experience for my talent by doing something I believe you too still do Bill, and that is asking questions to this very day… In the field and on forums such as this great one.
Now, maybe I am confused as to what a DP does. Both yours and Tom’s have given me an identity crisis (Joke :D) Hahaha. Anyway, I have a crew, 3 cameramen, Key Grip, Lead Gaff…. But I am the DP, they are apart of my crew, shouldnt I first have an overall idea of how I’m going to light the room? Shouldnt I pick the equipment used? Isnt that why my title has “Director” in front of it and they are apart of “my” crew? Or Am I being too micromanaging and should only worry about general look and not fuddle with equipment? I thought a DP painted with light, picked the lights, gels, and a Gaffer just worried about actually putting up the lights. I thought the DP had to have an idea of whether or not he could even put lights in that location under the circumstances of the shoot?
Tom you are correct, this is a “free” set, sizzle reel, but I know that this set gets me my next job, and I am sinking some of my own money in this because, if nothing else, it is a reel builder where I dont have to pay any crew and I get to show my talents, so why not pay for some of the equipment I want to use?
Anyway I would appreciate your opinion on both you’re views of a Cinematographer and how I should light this room.
Much Appreciated and Humbly Yours
Will
P.S. Tom, Did you work on Year of the Quarterback Kick-off special? I worked on there as an AC/Cam Op as well. You’re name sounds familiar and I know we filmed Elway for the show.
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Yes, indeed I did DP the Elway section of that program. Which part did you work on? Small world!
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
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Jerry,
Lowel is a little weak for the necessities here. I always like the idea of being able to put Scrims or nets in front of lights to weaken them. Lowell’s have an application, but I just dont think its here.
Maybe I am wrong, Ha, its happened before. What does everyone else think?
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I worked on Mark Harmon, Snoop Dogg, the USC int and then the ESPN guys stationed here in LA. Did you watch the show? I thought it was pretty good!
Will
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As far as the rest of your email, good for you for defending your position!
Yes, you are indeed a “Director of Photography” if you are in charge of the lighting and the crew. I think that Bill and I both were referring to the union title of “Director of Photography” – the one you acquire after climbing slowly up an apprenticeship ladder. This person would have ASC after his name (if he’s from the U.S.).
But I think it’s fair to call someone a “Director of Photography” if he or she is in charge of lighting and shooting a scene, or movie, or interview, or whatever.
To me it’s much more accurate than “Videographer”- which not only implies a format, but suggests a wedding or event person (not that there is anything wrong with that!)
“Cameraman” is sexist I suppose. “Camera Person” is too politically correct. “Cinematographer” is okay, but suggests that one is shooting on film to me.
The one I hate the most is “Shooter” – which is often thrown around in the news world. First of all a shooter reminds me of someone atop a bell tower killing a bunch of people. I live too close to Columbine for that to be my title. I’ve also done work with heads of state, and at least one president. I don’t want to even connect the word “shoot” with our work there. Not when I have to get screened by the secret service! Also, a “Shooter” to me implies one who uses a shotgun to “spray” his or her shots. I think of what we do as much more selective than that. If you go into shooting, even documentary shooting, with the idea that you are going to “spray” the room without any eye for what you want to shoot – just to fill tape or cards – then I guess you deserve to be called a “shooter.”
Anyway, I’m on a rant now. I think I might suggest a column to Ron in the next issue of the COW magazine called “What’s in a Name?”
Let me know if anyone has any other anecdotes to add to this, and I’ll try to roll it into the column.
Sorry, William, I never really addressed the issues of the room you need to light!
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
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Yes, I thought it was very interesting, and well done. I appreciated the challenged of keeping their look consistent with a variety of crews that must of worked on it.
Tom Miller
Big Pictures Media
Denver, Coloradohttp://www.BigPicturesMedia.com
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