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Basic Two Person Interview Setup
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The Job - An Interview with a Singer and her Producer in a Recording Studio

The interview will be part of an electronic press kit and offered to broadcast TV.


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The Location - Studio Vocal Room

Triangular room with dimensions 29' x 12' with 12' laminated wood ceilings. Windows on far wall. Overhead fluorescent lights.


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The Requested Style - Light, Low Key Look

They wanted a slightly dramatic, contrasty "workspace" feel to the lighting.


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The Kit - Lowel DV Creator 55 Kit.

4 lights with accessories & stands, 2000 Watts total.



the setting the DV Creator 55 Kit


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The Approach...
Pre Lit

Our 2 person interview took place in the vocal room of a recording studio. The room had a combination of fluorescent fixtures on the ceiling and a couple of large windows along one wall on the other side. This image was taken with just the overhead room lights on.

Because we needed a more contrasty look, we blocked some of window light with a movable sound partition and turned off the overhead lights.

Lights
(Top) Rifa 55 (500W Softlight), Pro-light (250W focusable), (Bottom)Omni-light (500W focusable), Tota-light (750W broad throw)

 Lit wide shot
(Clockwise from Top Left): Tota-light (750W broad throw), Pro-light (250W focusable), Omni-light (500W focusable) with umbrella, Rifa-55 (500W softlight)

The subjects were quickly lit with the Rifa 55 off to the left of the camera and placed just far enough back to cover both people. The light still being close-in made it very bright, so when we adjusted the exposure for it it helped make the background become darker and enhanced the moody look we were after.

The Omni-light with an umbrella was positioned nearly over the camera's position. We adjusted the distance of the light from the subjects until we saw a flattering light on the female artist, who was nearest the fill light, and more dramatic effect on the male producer.

Brightly lighting our subjects against a very dark wall in a dimly lit room caused the black acoustic treatments on the wall behind them to drop nearly into complete darkness. Dramatic but bland. This was dealt with in two ways.

The Tota-light was hidden behind the low wall to the left and aimed directly at the background at a sharp angle to bring out the texture in the material. While we could have placed the Tota-light to wash over most of the back wall evenly, it provides more visual interest by opening up what was the darkest corner and let it gradually fade out along the length of the wall.

Where the wall shaded back into deep black the Pro-light from the kit provides a highlighting edge along their hair and clothing to help visually separate them from the background. The light was placed directly behind them but backed to the wall to keep it out of the shot. While somewhat intense, it adds to the dramatic look requested. If a subtler hair light would have been wanted, we could have added the gel frame and either the Neutral Density or Frost gels to lower the lights output.



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The Final Shot...

In the final shot, you can see that the Rifa-55 did a good job of covering both subjects with a nice soft Key light. The Omni-light with umbrella filled in some of the shadow from the Key, creating a nice contrast ratio. If we had wanted a more dramatic contrast, we could have easily achieved it by simply moving the Omni Fill light a little further away from the subjects.

The Pro-light as a hair light covered both subjects easily, giving both separation from the background, and a highlight to their hair.

The Tota-light hitting the back wall gives a little texture to its black fabric covering, while adding a highlight to the wood strips.

Final Shot
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