I try to shoot interviews so the subject is looking into the key. Of course sometimes this is clearly impossible. Especially in news. But when I have some control, and the light is plain noon-time-ugly and I can't find shade, I'll put the Frezzi with the dichroic on a stand and put it off to the side of the interviewee, hoping it'll add a little kick. It can help fill ugly shadows, too. With the dichroic, this is for daylight, of course. And of course it depends on the intensity of the lamp you're using. Then I do the "reporter sandwich" thing with the camera on one side of the reporter and the tiny light on the stand on the other side so the subject is looking into the key and not the fill. Sometimes it works, sometimes not. Often there's just no time to do this dance, so you've got to figure out how to position the person so they look best in bad light.