Lighting for a Sitcom

[Thomas Miller]

I agree – you need higher quality lights than Lowels.

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Chas Smith]

Gooolllleeee !!! Poor guy asks “what time is it?” and has to defend whether or not he is qualified to ask the question. Ouch!!

Anyways… yeah.. Lowells / Tota-Omni’s are good for many things and if you’re good at tweaking and supplementing with dimmers, gels, scrims and flags….you can get some good results. However I would also agree that you would be better served considering other options.

But more importantly, I’d look at things first from a show theme POV. As you probably know, most sit-coms have traditionally been shot before studio audience to provide feedback/energy to actors and 3 camera blocking developed by DesiLu (“I Love Lucy”) has been the standard approach. With this practical approach, “High Key Lighting” has been the standard (wide spread of softlight, low contrast ratio…no more than 3-1 or 5-1 max.) So softboxes or frames with spun diffusion…or KinoFlo fluorescence heads….there’s sooo many ways to go. I saw a low-budge indy set up where they hung Chinese lanterns suspended above set and had backlight redhead & pepperbox kickers for separation. I guess at the end of the day, what look are you going for and should you rent or buy or combo of both.
Taking a look at sit-coms today… everything from “How I Met Your Mother” to “Modern Family” (3-cam vs 1-cam/sorta) you’ll see most of the lighting design is High-Key/Low Contrast-Even Spread. Hope I’m not being too obvious with all this but it’s like asking about computers… some swear by Mac…others by HP or DIY-workstations… choose the tools that work best for you and ya can’ts go wrong.
My2Cents.
Chas

[Bill Davis]

While I appreciate the outstanding Gomer Pyle impression in your post, I’m still not quite convinced that the wholesale devaluing of skills sweeping our industry isn’t at least somewhat linked to the wholesale devaluing of how we allow language to be used to describe the people in it.

But I guess I’ll get with the modern process and change my ways.

A Camera OP is anyone with a camera.
The guy who volunteers to bring the 50″ 12 guage extension cord and a pair of Halogen shop lights to the set is now officially the Gaffer.
And from this point on, a DP is anyone who’s in charge of lighting a video – which, I suppose means that if the Principal at the local grade school asks me to fiddle with the stage lights prior to this year’s performance of Chicken Little – BINGO they are now and forever a DP!

BTW, I’m in NO WAY casting any aspersions on the OP.
He’s precisely correct that unless you keep asking and keep learning you’re dead in the water in this business.

I suppose I’m just tired of showing up on sets lately and learning that the people who are supposed to know how to do things have absolutely NO CLUE how to do them – beyond what they read that very afternoon in a newsgroup like this.

And it’s not just in video. I’m seeing the SAME thing in all sorts of industries as business happily guts their staff of anyone who’s been around long enought to acquire some actual knowledge, in favor of the CHEAPEST workers they can keep around.

I suppose we’ll have to deal even MORE with this in the future, since those very organizations seem to enjoy passing out fancier and fancier titles, in lieu of actually paying people more money.

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

[Chas Smith]

“While I appreciate the outstanding Gomer Pyle impression in your post, I’m still not quite convinced that the wholesale devaluing of skills sweeping our industry isn’t at least somewhat linked to the wholesale devaluing of how we allow language to be used to describe the people in it.”

SUH-PRIZE…SUH-PRIZE…SUH-PRIZE!!!

Bill…FWIW…(and it ain’t worth much)… I didn’t look into William Kamp’s original post as deeply as you apparently did. I wasn’t compelled to consider his qualifications or background, I only read a post requesting advice or opinions as to “lighting a sitcom set”. And so I was a bit surprised at your response, somehow implying that as a “DP” he should know what to do already. You obviously take a lot of pride in your profession and I suppose the DP’s you know and work with probably wouldn’t have need for such a query. You’re one lucky guy. 🙂

Too bad you didn’t have any suggestions you’ve picked up along the way regarding “how to light a sitcom” so that Mr. Kamp (as well as the rest of us) could benefit from your experience.
Gooollllleeeee! That would’ve been sumptin’ to write back home about. 🙂

[William Kamp]

Is this THE WILLIAM DAVIS from QuantumLeap Productions in Arizona?!?!?! I noticed you still havent upgraded from that Apple G3 and Final Cut 1.0. What sort of articles are you writing over there at VideoMaker Magazine? How to export XML’s from FCP 7 compatible with FCP 1.0? Wait, you’re explaining the razor tool arent you? The internet is better for your masturbatory rhetoric and you should continue to sit back in your ivory tower and revel in all the experience you are not willing to share with the less fortunate.

In other news… I would like to say I am sorry for my outburst of anger as I’ve never been so attacked for a simple question….

I hope that there are others out there that may have suggestions… my biggest question is still what are those spreaders called that aren’t permanent. I’ve used them on sets, seen them in lighting breakdowns… but cannot remember their name! hahaha. Any help with all this would be appreciated.

Will

[Thomas Miller]

Will, what you might be looking for is a “trombone”. Here is the description from the Matthews catalog:

Trombones derive their name from the musical instrument, which also telescopes. Designed to hang on a set wall, the retaining arms adjust to their thickness for security. The arm has a 90-degree offset on it, and telescopes in two sections. A tennis ball slipped over the lowest vertical drop down prevents marring of the set wall. Available in a baby and junior versions.

The Matthews catalog is a great reference for obscure grip items such as “Bull Pricks” and “Butt Plugs” (note that these are different tools), as well as more common definitions. They have a “gripionary” here:https://www.msegrip.com/mse.php?show=griptionary&char=20

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Thomas Miller]

Also, as the person who suggested and starting this forum with Ron, I don’t want to see it turn into a pissing match between people. I think this ought to be a safe zone here – anyone can ask anything here without it making a statement on their background, experience, or industry cred. If one poses the question, then one obviously doesn’t know the answer. Let’s just try to answer it without questioning why the person is asking it. I’m guilty in this thread too. Here’s a fact – no one knows everything. But together we know a lot more than we each do individually. And I think that’s the spirit of the COW. (Fade in some sort of emotional music please.)

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[William Kamp]

Thank you very much Tom. This is the sorta response I was looking for! I couldn’t find it in a google search because I wasn’t sure how to look.

Thanks so much.

If anyone else has suggestions, please, let me know.

Also I concur, that’s all I was looking for from the beginning. I would like to repeal any disrespectful remarks.

[Chas Smith]

Well said Tom… couldn’t agree more. That’s what I like about CreativeCow forums… 99.999% of my experience here has been positive. I’ve been in “da biz” for 30+ years and I consider myself an old analog dog trying to learn new tricks. I’ve asked questions on CC that I should know the answers to but I have to admit, despite my experience…there’s a lot I still don’t know or have a tough time grasping… (and a lot I’ve forgotten too!). I’m always grateful when someone takes the time to address my posts to lend a hand in learning how to deal with stuff.

And I have to credit the generous spirit of CC members for some of my success in tackling issues. CreativeCow Forums ROCK!!

Thanks everyone!

Chas

[Bill Davis]

I am NOT interested in engaging in any form of escalation here, however, since these posts are permanent and indexed by Google, I do feel the need to set the public record straight.

NO, I’ve never been associated with any firm with the name Quantum, period.

YES, I was associated with Videomaker magazine some years ago. I spent 10 years there first as a general article writer and eventually Contributing Editor responsible for writing the Computer Editing column wherein I attempted to make complex editing and production concepts clear to a general video audience. I’m proud of that work.

As to FCP 1.1, MAYBE. I’ve owned and operated a FCP suite since April of 1999 – barely 2 months after the program debuted at NAB that year. So at one point, I surely worked with FCP 1.1. But I’ve grown a bit beyond that. So see my operation and work as it is today, feel free to view my business site at https://www.newvideoaz.com.

Thanks for the opportunity to set the public record straight.

“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