With football season in full swing, I’ve been getting some great opportunities to shoot some cool interviews with NFL players from all over. This time I had to make the trek to Cleveland, Ohio for Fox Sports to interview Brian Hoyer the quarterback for the Browns. I arrived at the Browns training facility near the Cleveland airport and met up with the DP Matt who also works out of Chicago. Together we set to work lighting a two-camera sit-down inside the field house.
Since it was such a large space we chose to light using silks and several HMIs. We keyed with a 400 Joker hitting an 8×8 frame silk. We used a reflector on a smaller frame to bounce the key back as our fill light. In the background I hit the field and the far wall with my two 400 HMIs, while Matt used a huge 1600 Joker to spot the midfield logo. Since we used HMIs to light both the subjects and the background we were able to match the shots pretty well and get a very natural feel. The big lights also helped light up a very large, dark space. I shot on the F3 and Matt on the F55 and we both used nice cinema prime lenses.
We got about 30 minutes with Brian Hoyer and then we wrapped up and headed to a nearby TV station to feed the footage back to Fox. Talk about a quick turn around, the interview we shot was slated to air that same night! In the end all went well and you can see the results of our efforts here: http://www.foxsports.com/nfl/video/brian-hoyer-cleveland-br
It’s always fun getting to work with some of the other Go To Team crews and getting to share ideas and expertise. I had the chance to work with with our crews all the way from Miami and Charleston on a feature in Madison, Wisconsin as well as our D.C. crew and Nashville crew in Cincinnati, Ohio.
Our Madison shoot featured a 3 camera sit down interview with the University of Wisconsin Men’s Basketball Head Coach Bo Ryan. We shot entirely on the Sony F55 with Canon lenses and used our MYT slider for the wide shot. We set up in the weight room and took advantage of the UW logos on a lot of the exercise equipment as nice background elements. Charleston DP Dave Baker was A Cam and he set to work lighting our background and framing up the tight shots. Miami DP Juan Lopez, meanwhile, set to work on his slider shot while I focused on lighting our subjects. We interviewed Bo for 20 minutes and then Dave and I captured B-Roll of the interior of the arena while Juan got some nice exteriors. We packed up, grabbed some deep-fried cheese curds, and I headed back home to Chicago!
My next assignment for Fox was to head to Cincinnati, Ohio to work with Nashville DP Craig Goodale and D.C. DP Ryan Ricker on an interview with Andy Dalton and Donovan McKnabb. This time we also shot on the Sony F55 but also recorded to a Pix 240 to provide the client with Apple Pro Res. The interview and B-Roll we shot on that Thursday was going to air the following Friday night following playoff baseball on Fox Sports One!
Our setup in one of the Bengals locker rooms was pretty elaborate and included bringing in some aluminum siding to create a nice reflective background that could be positioned and lit however we chose. Once again we were using the MYT slider for the third camera on the wide shot and chose to hang some lights from the ceiling in order to keep them clear of the wide shot. Donovan McKnabb sat down with Andy Dalton for about 15-20 minutes and then we shot some hero shots with Andy before he headed to practice. Craig and I stayed behind to shoot B-Roll of Andy and A.J. Green warming up at practice. We then shipped the footage off to Los Angeles where it was edited and ready for TV the next night!
Maybe I'm joining that old school crowd, but I've been told by a photog in leadership roles that the natural light is better then using lights at all. I think natural light is great when it exists. We have cameras that like light. They aren't great in low light situations. Even in a naturally lit room they look washed out. When you have a naturally lit house I still throw a day light balanced light in their face to pop up the subject. Sometimes I'll kill all the light... close the blinds... and totally light up the subject or the scene with 3 or 4 lights. This is what I was taught through-out my 20 year career. I was told I'm staging the interview when I light it. HUH??? I thought making the interview look good is our job. Its laziness to not light someone or something if it needs it. Takes me 10 minutes or less to set up two lights and turn off the over head lights. This conversation has been bothering me so...
Your thoughts please.
I am looking for a lighting option to use with our TVU Backpacks. I have looked at the Bescor LED-95DK2 which looks like a viable option, I am just concerned there is not a lot of throw with them. So what are some of you using when operating these backpacks for lighting, when a normal power source is not an option?
So I am thinking about a pair of Kino Flo Diva lights for clients that request Kino Flo's on a shoot, but I am thinking about the Dracast Flo's instead because you can run them off a battery which is great, and you can salt and pepper a single color version instead of the bi-color for a higher light output. The fluorescent bulbs are much more durable as well.
But, I am wondering if on 2-camera shoots with another DP who has Kino Flo's would I have trouble matching them? 80% of the time, I would be flying solo, but for those times was curious how close they would match, the Dracasts are boasting 90+ CRI, and I have found it to be pretty true since I own the panels.