Interviews
Interviews are among the most common
lighting assignments. Typically, they involve two
subjects and a moderate amount of background.
One-Person Interviews
The current style of video interview has the
subject on-screen all the time. The interviewer’s
questions are posed as topics to be responded
to, so that they can be omitted in editing. In the
fi nished interview, the subject appears to be
discussing the subject spontaneously.
Softlights are frequently used because they
look natural, they generally light the background
as well as the subject, and they are quick and
easy to use.
Since interview subjects are rarely media
professionals, lighting should be moderate and
be kept out of their eyes. Because interviews
rarely use angles wider than medium (waist)
shots, a refl ector can be used opposite the soft
key for fi ll. Even with “natural” lighting, a small
spot rigged as a rim light can add modeling
and separate the subject from the background,
Figure 16-37.
Two-Person Interviews
If your interviewer will appear on screen,
you must light her or him as well, Figure 16-38.
In establishing shots, the back view of the
narrator in the foreground can often be lit by
the lights on the interview subject. The same
lights provide rim light to separate the subject
and interviewer from the background.
For single shots of the interviewer asking
questions or listening to answers, you have two
different options: light for real-time recording
or re-light for a re-shoot. To light the interviewer
separately for real-time recording with a second
camera, position the reporter’s camera to shoot
over the interviewee’s shoulder, so that both
people are included in wider shots. Place the
lights for both people so that they are outside the
frame in both setups. If you are using only one
camera or if some of the reporter’s questions and
reactions need to be re-shot, you can re-light and
reset the camera after the main interview to pick
up this material for later editing into the sequence.
streaming out of a window or open door. Since
the indoor white balance setting will render
this light as “white” it will contrast convincingly
with the “moonlight” cast of the overall scene,
Figure 16-36.
Lighting Assignments
In addition to the general lighting situations
covered so far, there are a few specifi c assignments
that come up frequently enough to deserve
special attention. These include interviews,
“stand-up” reports, compositing, very small
areas, and graphic materials.
Figure 16-35 Including the daytime sky reveals the
trick.
Figure 16-36 Incandescent light completes the illusion.
Chapter 16 Lighting Applications 353