[Bill Evelyn]

Hi, Chris

Significantly more “I” than “P.” Ultimately, it will be edited and spit out as a Quicktime for broadcast.

Bill

[Bill Evelyn]

Hi, Lenny

I think the big question is how far are your lights from your stage. 2K lights give off an enormous amount of light, but distance-of-throw will diminish your footcandle reading radically. I’d suggest a simple test with a meter and some lights: turn on one 2K, move it to approximately the same distance you expect in the stage environment, and take a meter reading in an area about the size of your action space. Add another light, and do the same. Just make your lighting “wash” even for green screen.

Best,

Bill

[Bill Evelyn]

Hey, Rick

In this type of set up, are you using a color monitor to help you balance light, or your experienced eye? If a monitor, do you simply calibrate the monitor (with your eyes) using color bars so the blacks, reds, etc. look fine to you (versus a scope)?

We have several guys sharing the same equipment, and the monitor I use never looks the same. So, I hesitate to say “this monitor’s right” and light from there. Instead I have to light mostly from how it looks to my eye, practically ignoring the color monitor. I’d like to rely more upon a monitor if I can get it correctly calibrated each time I use it.

Thanks,

Bill

[Bill Evelyn]

Hi, Jeff

All good advice here, but let me ask one rhetorical question: Do you have any control over the length of the interview you’re shooting, and when you record? Light quality outside the window in the evening or morning is much nicer for your shot than mid-day, but it changes color temp and intensity rapidly. If you do have an evening or early morning record time, shoot your establishing shot first; and then close-ups for the bulk of the interview…which shows less background “sky”…afterwards, as it gets brighter or darker outside. Consider also some “set elements” to break up your CU shot backgrounds; plants are the easiest to use to help with this.

Good luck!

Bill

[Bill Evelyn]

Thank you, Fred and Ty, for your help.

Take care,

— Bill

Bill

[Bill Evelyn]

Hey, Bob

I have worked “solo” on many shoots for a long time and can relate to your need at keeping your subject at ease, especially when having to wear headphones. But, I’ve also used cheap earplugs for audio monitoring in these kinds of situations and they are like playing Russian roulette: you just can’t hear enough of what’s being recorded. I’d suggest you keep your subject at ease with your charming personality, engaging them so they forget you have big ears on. If you don’t have someone asking your questions to your subject, or you don’t have a sound man, you really should wear the headphones if it’s a sit-down interview.

I agree that the recommended earbuds posted here earlier made me pucker when I saw the price, but that’s my reaction with every expensive piece of gear I’ve purchased. We’re in a pucker’n’ business! : )

Best of luck to you!

Bill

[Bill Evelyn]

Hey, Sam

Always good to ask these audio guys, but let me toss one more thing out for you: timing. I always record audio on all b-roll and use it as much as I can throughout the edit, mixing with music, narration, etc. But when you have a specific sound, like a child kicking a ball or even a short phrase of nat sound you particularly want, just time your VO so one doesn’t compete with the other…they instead compliment each other.

Something like:

VO: “Children stay healthier when they play outside…”
Audio Up on Nat Sound of child kicking the ball, and under…
VO: “…and they have a pretty good time, too…”
Nat sound bite: “Great kick, Johnnie…”

It’s not that hard to do, makes for a nice tight edited piece and gives a little more sense of presence to your story. Just mix carefully so it’s not an audio rush up & down like you hear on too many news pieces, but instead seems natural.

Bill

[Bill Evelyn]

John,

You said the backings were lit to a flat 80 ire. Why 80?

I did a low-budget shoot last year which was a white seamless in front of a guy yakin,’ and I let the background clip. Made me squirm a bit when the director wanted the iris goosed, but when it was all done it looked nice. All the lighting was uniform on the background, and key/fill adjusted for talent. I cut it so I know there was no “fixin’ in post.”

With 80 ire for background, is the subject then at 70?

Thanks!

Bill

[Bill Evelyn]

Thank you, John…

Bill

[Bill Evelyn]

Hi, again, John

You mentioned 1/4 stop silk, which may answer one of my original questions. Of the silks listed on Matthews’ site, only one is called 1/4 stop silk. So I was wondering how much light the others (Chinese silk, artificial silk) might block out. I bet what I have is quarter-stop material, because it really simply takes the edge off the sun, which is what interests me.

I’d love to have a giant silk and set it up as you describe.

Take care,

— Bill

Bill