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Video: Genre

Another area, Jim, I think that sometimes dictates the lighting is the genre or something those unwritten rules of the style of video you're shooting. You and I both work around a wide range of projects. And if I'm doing something for a nonprofit they may want it to not look too overproduced. Because they don't want to be looking like they spent a fortune on their video project, even if they didn't. And you're shooting something for a broadcast news package, that's going to look completely different than if you're shooting something for a major television network. How do you sort of balance out these unwritten rules? Do you do research? Do you try to find other examples to show them? >> Well, there's always that balance between what's appropriate with time and resources and budget and expectation.
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  1. 1m 9s
    1. Welcome
      38s
    2. Using the exercise files
      31s
  2. 9m 59s
    1. What are the objectives?
      4m 24s
    2. Things to consider before you arrive
      5m 35s
  3. 25m 32s
    1. A basic light kit
      4m 7s
    2. Light types
      7m 58s
    3. Stands
      4m 44s
    4. Light modifiers
      3m 37s
    5. Stingers and adapters
      5m 6s
  4. 12m 15s
    1. Shutter speed
      4m 54s
    2. Aperture
      2m 38s
    3. ISO
      4m 43s
  5. 13m 38s
    1. Time of day
      3m 58s
    2. Emotional tone of the interview
      4m 54s
    3. Genre
      4m 46s
  6. 9m 50s
    1. Time vs. resources
      5m 56s
    2. Compromise
      3m 54s
  7. 18m 8s
    1. Bringing the talent on set
      6m 56s
    2. Interview tone and mood continuity
      5m 12s
    3. Technical concerns
      6m 0s
  8. 10m 26s
    1. Interview space as the background
      5m 54s
    2. Interview backdrop
      4m 32s
  9. 6m 3s
    1. Evaluating the space
      2m 16s
    2. Finding the best angle
      1m 20s
    3. Talent standing in the shot
      2m 27s
  10. 6m 48s
    1. Key light
      1m 59s
    2. Fill light
      2m 15s
    3. Back light
      2m 34s
  11. 6m 19s
    1. Lighting the background
      1m 51s
    2. Lighting the talent's face
      4m 28s
  12. 12m 58s
    1. Flagging
      2m 9s
    2. Bouncing
      1m 48s
    3. Dimming
      1m 59s
    4. Netting
      1m 3s
    5. Diffusing
      3m 44s
    6. Color correcting
      2m 15s
  13. 13m 43s
    1. Using a stand-in
      2m 20s
    2. Evaluating the talent's wardrobe
      3m 5s
    3. Final adjustments
      1m 42s
    4. Set the eye line
      2m 3s
    5. Bringing it all together
      4m 33s
  14. 1m 43s
    1. Wrapping up
      1m 43s

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Watch the Online Video Course Lighting a Video Interview
2h 28m Intermediate Mar 19, 2014

Viewers: in countries Watching now:

Interview lighting should make the subject and the interviewer look great. But you need the right equipment and the right understanding of the shoot's goals to accurately control its look and feel. Join Rich Harrington and Jim Ball as they walk through the gear and information you need to properly light a video interview. Discover how to determine the mood and genre of the interview, properly expose your shots, establish a schedule for the shoot, choose a backdrop, and frame the shot. Plus, learn techniques for controlling the light with flagging, bouncing, diffusion, and other techniques used by the pros.

This course was created and produced by RHED Pixel. We're honored to host this content in our library.

Topics include:
  • Creating a lighting kit of essential gear
  • Working with shutter speed, aperture, and ISO
  • Determining the emotional tone and genre of the interview
  • Choosing a background
  • Finding the best angle
  • Using three-point lighting
  • Lighting backgrounds and faces
  • Color correcting light on set
Subject:
Video
Authors:
Richard Harrington James Ball

Genre

Another area, Jim, I think that sometimes dictates the lighting is the genre or something those unwritten rules of the style of video you're shooting. You and I both work around a wide range of projects. And if I'm doing something for a nonprofit they may want it to not look too overproduced. Because they don't want to be looking like they spent a fortune on their video project, even if they didn't. And you're shooting something for a broadcast news package, that's going to look completely different than if you're shooting something for a major television network. How do you sort of balance out these unwritten rules? Do you do research? Do you try to find other examples to show them? >> Well, there's always that balance between what's appropriate with time and resources and budget and expectation.

With you know, something that's I don't know, by definition good or appealing or attractive. I mean, I don't think anybody ever strives for anything less than pleasing to the eye, unless there is absolutely a creative reason to do it. >> Although some times they will say, I want this to be very simple and minimalistic. For practically that example I gave you, they wanted to match other productions that they've done. Like, oh, this one can't look so much better than all of our other footage so, make it good but tone it down.

Or, oh, don't make it look like we spent a fortune here because, it's going to send the wrong message. And then other times, they just want it to look lush with pools of light and make the set look enormous. >> Well, that's something as a free lancer and most directors of photography live in the free lance world is your ability to step in to already existing situation. Like things that have been shot before you by multiple people and what have you. And and, and you know, sort of walk the fence of, you know, continuity and what's already been established.

With something that still is acceptably you know the aesthetic is acceptable. And that's part of, that's part of your skill set. It's not always about doing what I want to do and starting from scratch, you know. It, it, it is about collaborating in the big picture of the project. >> And sometimes, let's just be realistic. We show up on a set. We have some ideas in our own brain. But you ask the client, they have no opinion. You ask the PR firm or the ad agency, and they can't reach agreement.

So, you will walk into times where either there are too many ideas or not enough ideas. And you have to sometimes be the last one at the end of that creative chain to make it happen. So, do you sometimes plan to have two looks that you can quickly switch over between? Or, do you just sometimes make an executive decision and hope everyone's happy? >> Well, there are plenty of times where you're, you're walking the line of interpreting what somebody might want. Or maybe only have the information in the, in the sense of, we know what they don't like.

>> LAUGH >> And there are, there are plenty of grey areas and political areas of, of this process that you also need to have a skill set. And in interviews are very much in that category. You know, for example, many times, you may not have any idea the physical qualities and the demeanor of the interview subject until moments before, moments before. Especially if you're dealing with say, celebrities or figures, people that have very limited time.

And there's, there's not been an opportunity to, you know, get all the information you want. In that case, yes. Just what Rich said, I will, you know, set up plan A, plan B, even plan C in terms of lighting. So which is extra work and extra time. But it may save you when you have literally minutes or seconds to start rolling on an interview and you're seeing the person for the first time. And you, you've already had a plan. So if it's a matter of, it's much quicker to shut a few lights off rather than have to rebuild an entire setup.

Because you didn't expect the person to look a certain way or act a certain way. Or, or whatever you, whatever curve ball gets thrown your way. >> And there are always curve balls and what Jim's alluding to does take planning. So when we come back we're going to talk about some of the tangible steps you could take in order to establish a schedule. Whether you're working alone or with a large crew, you still need to have a time schedule. If you're going to hit the goals you need from a production standpoint.

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