[Ryan Velazquez]

Hey John,

Thanks for the detailed response. It gave me a very clear idea of how the interviews were set up. I really appreciate you taking the time to explain everything.

I thought the Mickey Rourke and Anne Hathaway interviews looked really great. The first shots of Barbara Walters talking directly to camera looked a little off to me. I’m not sure if that’s the right word… maybe manufactured would be a better word. Since I’m working from my memory, I can’t really put my finger on it. It seems like the candles in the background, the really soft lighting and the way she was clipping her words, combined with odd visual edits/cuts, made everything seem a bit forced. I’m not sure. I think once the interviews started getting go, everything worked really well though.

Do you mind if I ask what your role was in this whole production?

[Ryan Velazquez]

Hey John,

I saw your work on the Barbara Walters special and it looked great. Do you mind if I ask what the lighting setup was for the different interviews?

For instance, I noticed on the Anne Hathaway interview that the shadows from the key were far sharper and less diffused on Anne than on Barbara. In fact, far sharper than on any of the other guests in the special. What was the reason for this? Obviously, the soft light flattered Barbara, but why the hard(er) light on Anne?

I’d be pretty curious to know how many lights went into the interview, and where they were set-up (i mean if you wouldn’t mind taking some time to explain, of course!). I’m eager to learn from such an outstanding professional such as yourself.

Thanks!
RV

[Ryan Velazquez]

heyo,

I pulled the key around more frontal and raised it as well. i also strengthed the backlight/kicker (and messed with the prop light in the bg – but thats not too important):

https://rybo.tv/forum/blackcyc_1.jpg

I agree that it looks better… a lot more pleasant in the traditional way. however, there’s still something about having it set up with that previous sidelighting that was/is visually interesting to me.

but please, tell me what you think of how the setup looks now.

(one with less fill https://rybo.tv/forum/blackcyc_2.jpg)

sorry Dennis that I can’t give you more information about the lighting fixtures.

[Ryan Velazquez]

Thanks Dennis and John,

I don’t mind any of the feedback. I care more about getting a good shot, and everything Dennis said was honest and, more importantly, true.

Your comments were very helpful as well John. I should definitely take the ND filter off and just knock off globes. Lapse of judgment on my part there. Care to go into the “scratch” light for the black bg in a bit more detail?

Any other suggestions, I’d love to hear as well.

Thank you both for your input!

Ryan

Also, excuse me if I misspoke about the lights. I was giving an approximation of what their approx. equivalent output would be for hot lights in an attempt to make it easier. You are 100% correct in that they themselves are not outputting at 1500 and 2000w.

[Ryan Velazquez]

Hey thanks for the quick response Dennis.

You are most correct that the key and fill are more to the side than straight on. How can you tell? The ways the shadows fall? What looks so unattractive?

I was originally blocking for someone with glasses and the side angle helped me minimize reflection of the flights in their glasses.

[Ryan Velazquez]

Hey Dennis…

It’s cramped in that the ceiling is a mere 7-8 ft high and width wise, probably only a few feet more than that. I do have length in about 18 ft.

In any case, I am putting the camera so far away to decrease the depth of field and shift the lights in the background out of focus. That’s also the reason why I am using the ND filter.

I’m using flos instead of the Arri because I have to light it all with the use of flos. Just a part of the project.

Ok, now to business!

Sidelight angles… I don’t know what you mean by that. Would you care to explain?

Thanks for the response/help!

Ryan

Re: Pro Lighting Opinion Needed!
by Dennis Size on Feb 18, 2009 at 12:23:17 pm

I’d hardly call a studio space that’s almost 30 feet long “cramped”. Why are you putting your camera so far from the talent?

Why are you using the two 1500w fluoros as a key and a fill — while wasting that wonderful ARRI fresnel as a prop?!!
One major bit of advice….. minimize the sidelight angles (a LOT). It’s not attractive.

DS