Lighting a press conference

[Lenslinger]

Just when I think I''VE exhausted every nuance of TV news, the denizens of b-roll step up and deliver. Really, two pages on lighting pressers! I wish I'd had this resource when I was just starting out, instead of having to read the chief photog's Funyun crumbs like they were tea leaves. As for illuminating gang-bangs, (sorry) how about when a shooter shows up last and begins OVER-lighting the room, despite the fact that everyone's set and balanced on natural light. It's enough to make one go for their Leatherman...

 

[Horonto]

Just when I think I''VE exhausted every nuance of TV news, the denizens of b-roll step up and deliver. Really, two pages on lighting pressers! I wish I'd had this resource when I was just starting out, instead of having to read the chief photog's Funyun crumbs like they were tea leaves. As for illuminating gang-bangs, (sorry) how about when a shooter shows up last and begins OVER-lighting the room, despite the fact that everyone's set and balanced on natural light. It's enough to make one go for their Leatherman...

In the mid nineties most station had CCD unibody Sony' 100's to 400's the Number 1 station always known for being on the cusp of technologies with its BVP5 -7 and BVV 1-5 had most of its camermen/woman running with 200-250 watt 30 volt belts. You can imagine the fun when one of these #1's would show up and just blast the Jebus out of a scrum. Even if we had all agreed to shoot it with sun guns but day light balance these lens lummocks' ruin many a presser. But it was OK their #1 butt act like #2

 

[cameragod]

Hah, when I was just a lad starting out we had an old guy nicknamed “The SunGun Kid” his lighting kit consisted of a 1,000w toplight. The combination of light, heat and BO was an experience…

 

[your boy]

look it is not rocket science. I carry a arri 650 for this situation. If it's outside than a joker. I did it in San francisco everytime. It's called being a pro. If I have to duck out early then one of my buddies from another station will break it down for me. ****ty video is unacceptable and if you allow it to happen your not as great as you pretend to be on this website. Good video is not a crime.

 

[Lensmith]

Lazy!

That's always the quick, easy stone thrown by those who believe they know all about every situation.

Years ago, as the chief photog at the NBC affiliate in Pittsburgh working with a great staff of photogs, I learned an early lesson. Never make harsh judgements about others work since you weren't there yourself. You may think you know what is and isn't possible but the bottom line is you weren't there so you don't really know. We've all suffered from managers who tried to lord over their own years-stale news photographer abilities thinking that proves somehow they KNOW what is and isn't possible in every situation while they sit back in the newsroom making uninformed assumptioons that don't have any basis in reality.

If I left gear behind, trusting others to break it down and care for it, I'd be in trouble. That gear is my responsibility. Not someone elses.

This whole press conference lighting thing has become a little silly. Several seem to think it's an "always" situation. Judging what is and isn't possible from their own small corner of the world.

It's not about being lazy. It's not about failing to be some "caring about quality" photog. It's about reality...probably a reality many others just haven't had the chance to experience yet. It's about understanding light and knowing when you do and don't need to add your own.

It's a press conference. Nothing more. Can you see them? Can you hear them? Is the color right? That's it! Save the creative endeavor for when it's needed. Not to mention where you'll get the credit you deserve for your hard work instead of helping others avoid doing their own work.

I think of it as working smart. The younger ones always run around getting every gnat angle and cutaway at useless press conferences. They wear themselves out for something that just doesn't really matter.

I still feel if a press conference has been called, the primary responsibility for how it is set up/staged is that of the organizers.

Last week I went to a presser in a local high-end hotel. The type of event where some guy with a DVX-100 had been hired by the hotel and organizaers to shoot. There he was set up in the back of the room with a 1K light blasting away. Shadow issues? You bet but do you think trying to reason with this person was going to get him to change that awful light set-up? Nope! Four of us tried being nice and making suggestions only to be shot down by this young fellow who insisted, similar to others on this site, he knew best about what ALWAYS needs to be done.

Where did that leave the rest of us who have been doing this job for a wee bit longer? With two options. Either we get into a fist fight with this little cam fellow who'd been hired by those doing the press conference...or give them exactly what they paid for and avoid arrest for assault.

Yep, there was a big old shadow right behind the head of the speaker! Nope, the rest of us weren't going to run back out and drag in a half dozen lights to do some kind of light-war overcoming this kids misguided set-up.

Frankly the lighting was not the only issue as he also insisted they crank up the PA system, giving us a wonderful echo in our audio from the podium. His reasoning? Well of course the speakers had to be that high so everyone could hear what was being said. We then pointed out the press conference was being held for THE PRESS! If we didn't get good audio it didn't matter if the grandma of the family in the back couldn't hear. What counted was THE PRESS getting audio they could use to get the press conference message broadcast. On the audio, he relented.

Professionals know how to pick their issues. Pick their fights. This lighting of a press conference so some person thousands of miles away can make himself feel good accusing others of being lazy or unprofessional is a waste of time and misleads others to make the same erroneous conclusions. Believe it or not it's a big world out there and you just may not know how every thing works everywhere else.
__________________

 

[Freddie Mercury]

It's a press conference. Nothing more. Can you see them? Can you hear them? Is the color right? That's it! Save the creative endeavor for when it's needed. Not to mention where you'll get the credit you deserve for your hard work instead of helping others avoid doing their own work.

If I may, sir, I disagree, respectfully, sir. If I'm shooting it, it's a press conference going on my air with my name on it. I'm going to do what I think is appropriate to get what I was sent to get, which is a soundbite worth airing. If that means adding light, I will. If that means putting my mic on the podium because there is a buzz in the mult, I will. If that means it's hopelessly bad and I need to get a one on one after it's over, I will.

By the way, I'm not sure I'm the only one, but I used the "L" word. I admit it. It was my honest opinion which I stated as my opinion and not a universal truth, and apparently that offended you to the point that you responded here and created a whole thread about it. That's too bad, but I'm going to keep writing what I think. If I start self-censoring to avoid a verbal spanking from Lensmith then I might as well not bother to post at all.

Satop, I can accept what you are saying. That just is NOT what you said originally.

 

[couryhouse]

I am always most appreciative to those that bring a big lighting kit.

Thanks to those that have kindly allowed me to use theirs
for a standup outside at accident scenes and DUI dragnets.

At most of the city press pressers that the city cable channel tends to host
at the media center here, the cable channel has it lit up real nice.

I think one should always strive for the best looking output we can produce.

 

[AlexLucas]

Professionals know how to pick their issues. Pick their fights. This lighting of a press conference so some person thousands of miles away can make himself feel good accusing others of being lazy or unprofessional is a waste of time and misleads others to make the same erroneous conclusions. Believe it or not it's a big world out there and you just may not know how every thing works everywhere else.
__________________

Ding Ding Ding!

We have a winner.
I tell ya whaaat. You get a photog that comes in with a know-it-all attitude, and starts talking crap about the old timers, at my venerable shop?
Oh. Look out.

They're about to get clowned.
The kung-fu will be coming out.
And it will huuuurt.

Do NOT mess with the silverbacks.
They can outshoot you.
To quote PJ O'Rourke: Old age and guile always beats youth, enthusiasm, and a bad haircut.

The best resume tape I've EVER seen came from one of the oldest photogs in my office. It was the most exciting five minutes of TV, EVER.
You can't do a hustle bettter than Uncle Toney or Al.
You can't outcut Charlie.
You can't beat Terry's aerials. Or under water.
The list goes on where I work...

You don't try to screw with any silverback, period.
You will be clowned.
It's not an 'old dog new tricks' situation.
They already know all the tricks.

They're also more certain than you about what they can do.
So they're cleaner.
So pick a visual fight with them.
And prepare to have your ass handed to you.

 

[David R. Busse]

In the old days...

My friend, save up $400.
Buy your own light kit if you ever want to leave your little station.
Sell it to someone else on the way out the door.

When I worked in Louisville 30+ years ago, we made a real push to equip everyone with big-city items like shotgun mikes and good light kits.

We ran out of money when we were buying lights.

So one day we were doing a news conference downtown, and we took our two-light kit along and lit the hell out of it. Along comes an NBC News crew from the Chicago bureau to shoot the same news conference. They thank us profusely for the lighting. We shoot the breeze with them, chat a little about the light situation. We tell them we're trying to scrape together money for some more lights.

The next day, we run into the same crew at another event. They leave a few minutes ahead of us.

We come out to the car and find two barely-used Lowels on the hood, with stands, and a note that says "keep these."

We call the net bureau the next day and ask for the cameraman.

"Keep the lights...we reported them stolen..." the cameraman said.

A few months later the same crew came thru the station with a box of well-worn lighting gear--"junk" they called it, and they left it next to one of our edit bays.

Suddenly we had all the gear we needed.

I never forgot that gesture of good will. Nor will I ever reveal names. Today, that "good will" would get people fired.

 

[Lenslinger]

David, that's an awesome story.

 

[your boy]

Wow, taking 90 seconds to set up a light really strikes a cord. I guess I got served on how the real world works. I shall stay tuned for all the wisdom that is sure to follow...

Dave, great story. That's true proffesionalism...

 

[Nino]

As a freelancer my situation is a bit different. When a client hires me to cover a presser they pay for me, my equipment and a soundman just like they would for any other assignment and I’ll do whatever I have to so it looks good, just like I would for any other assignments. I even take out a small steamer to take the wrinkles out of the background if necessary.

Until about a year ago when budgets started shrinking, every Monday throughout the NFL season I was hired to cover the presser, it was like having paycheck, now it's only occasionally.

If I’m going to shoot like a VJ then might as well hire a VJ; these are the times to shine when you can really show the difference. My producers will normally make arrangements for me to check out the place and make whatever changes are needed, often even if they put up some light I will make changes if I don’t like what I see.

The local news guys have my respect and admiration, at this stage of my life I could never do it. They come in minutes before the presser starts and are gone to the next job before I even power down my camera. They just about have time to set up the camera, never mind lights. I'll do it for them anytime I can.

 

[Rad]

.

If I’m going to shoot like a VJ then might as well hire a VJ; these are the times to shine when you can really show the difference.

AMEN! (and not that there is anything wrong with the way many VJ's shoot) Now, more than ever, is when professional News Photographers should be proving their worth! We need to show managers there is a difference between what we do and your basic guy with a camera.

 

[Lensmith]

That's is a great story David! I have to edit this post to stick my appreciation in before I continue....

Now, more than ever, is when professional News Photographers should be proving their worth! We need to show managers there is a difference between what we do and your basic guy with a camera.

I could not agree with you more.

However...as many of the past posts on this thread prove...they want to extrapolate opinions on a narrow subject into something that speaks to all work done all the time. Foolish and unrealisitc.

Wow, taking 90 seconds to set up a light really strikes a cord. I guess I got served on how the real world works. I shall stay tuned for all the wisdom that is sure to follow.

A perfect example of what I'm pointing out.

Boiling it all down into what is thought to be only about a theoretical "90 seconds".

Maybe when one is able to park close by to an event it is only about 90 seconds. Maybe if one is always with a reporter and not alone, hauling gear up and down parking garages, then walking a block or two with camera, tripod and other support gear, clearing security, then going up three or four floors in a building to be packed into a too-small-room with a half dozen other tv photogs, three still photogs and assorted reporters and pr people. along with the "faces" of said press conference. First in one language, then in another. English is not always the first language used in a press conference in my market so...sometimes we have to wait.

Getting your lights plugged in, and then expecting a coordinated agreement about what is "good" lighting? Well, it doesn't always find time in a real world work schedule for many of us. Sometimes? Yes. Most of the time? No.

Oh yes, now that you've made it to the presser and shot it...you have to go all the way back to the car with your gear and head off to your next shoot.

Don't get me wrong. Yes, there are lazy people in the world. But there are also others who have no clue about what is going on during a particular situation. Thinking they can dream themselves into it and make judgments about a reality they have no clue about.

I'm not making excuses for myself or anyone else. Give me the time and I'll stick lights up but I'm not going to get into fist fights with others over it. Think I'm exagerating? Then, once again, you don't know what it's like to really work in a large group of press covering the same event, all at once, in a very short period of time. Here's reality in those situations. Everyone brings one light. Everyone set's it up next to their camera...or uses a top light if that's all they've got...then the press conference begins. That's it! We have sound and we can see who's talking. The b-roll is where any story sets itself apart from the competition. Not at an all-skate press conference where everyone gets the same quality of video.

The topic of this particular thread is lighting for a press conference. Not a wide, general topic on what is a good work ethic for all of a photographers working with a light kit during their work day.

As is obvious, many can't seem to see the difference. That speaks to where they are working and, possibly the difference in what is required of them at their job compared to others...who work under much tighter deadlines and a heavier work load.

A quick example...how many packages did you shoot last Friday?

Me? I shot five (5) full packages. Starting at 10am and endind at 6pm. That included all my travel time to the different locations in two counties. Were they NPPA award winners? Nope! Sure weren't. But from what I've seen of past NPPA award winners they, like many others, seem to have a tough time (in some cases tougher ) holding onto their jobs.

I had a light on every interview. I know how to use a single light in combination with existing light to get a product that looks like I spent a lot more time making it look good with more lights. Used my sticks when appropriate and came away with enough professional product that my producer was happy knowing she didn't have to worry if there was enough b-roll to cover the stories.

That's the deal here, where I work, and at many other places. Get the job done. Make it look as good as possible but don't miss slot! Ever! Period. You bet I want my stuff to look better than other peoples. And it does! But I don't waste time lighting a press conference. I bring one light...at best, depending on time...and that's it. I get my paycheck. That's my award and it's the only award that counts.

I love seeing others here who have more time to do better (theoretically) work or just not be as exhausted after work as I and others are. What counts is getting called back to work again the next day...and the next and the next and the next. It's why I work to make my video look better than the next guy, VJ or staff. But I don't misunderstand what is and isn't important while doing the job.

I'm in this job for the long haul. Thirty plus years so far and they still want me back to work as soon as possible. I guess I must be doing something right...even if I don't think press conferences are some "lighting must" as other do.

 

[A Step Above Productions]

Here is my take on it – It depends…. It depends on what time of day it is… It depends on how many stations are in the market… it depends on who is holding the presser… it depends on your mood…

It just depends… if all the stars are aligned and you can do it more power to you… if it is 4:45 and you have to be live at five and you have 25 cameras to fight with for space then no - no lights.

Personally I never lights to a presser any longer – I once did when I worked in a smaller market where we only had three cameras including mine and the P.I.O. would wait for me to set up. In the real world it’s not worth it.

Now that I do media consulting I occasionally have a client who wants to hold a presser in that case my partner calls the media and set up the room – I light the room and put up a “Lenny Stand” this way no one has to do anything more than place their mic and hit record -

 

[Nino]

I'm not making excuses for myself or anyone else. Give me the time and I'll stick lights up but I'm not going to get into fist fights with others over it.

John, this thread is more about attitude than skills. If you don't have the time then you just don't have the time to do what you would like to do, you are not a miracle worker. Then there's what I call the "pink slip" attitude of: "Who cares, nobody knows the difference anyway".

Humongous difference between the two.

 

[Lensmith]

John, this thread is more about attitude than skills. If you don't have the time then you just don't have the time to do what you would like to do, you are not a miracle worker. Then there's what I call the "pink slip" attitude of: "Who cares, nobody knows the difference anyway".

Humongous difference between the two.

Very good point Nino. You understand...but others, who think it's only about some amount of work lasting 90 seconds...seem unaware of other professional situations.

We are on the same page. I was doing my best to explain the other realities out there that some may not truly appreciate.

"Caring" comes in many forms and sometimes the amount of real "caring" is hard for others to see or undertstand.

 

[David R. Busse]

Here's the deal on press conferences in my town...you do what you can.

Many of the press conference venues are pre-lit. That's great.

Many are not. If I get there early, I like to supply a light or two.

Most of the time, I am working by myself. It's tough to schlep a camera, tripod and lights in one trip.

In the old days, when I had a sound man I lit damn near every news conference that needed lighting, because there were ample hands to carry the gear. Today, it just depends on the circumstances. We have a great group of shooters in my town who like to help the rest from time to time...somebody always seems to have a little extra time (or a handy intern) to help with the lighting.

Agree 100 percent with Lensmith...in the daily grind, I take advantage of every short cut I know to make the work look like no short cuts were taken.

 

[javary]

Just when I think I''VE exhausted every nuance of TV news, the denizens of b-roll step up and deliver. Really, two pages on lighting pressers! I wish I'd had this resource when I was just starting out, instead of having to read the chief photog's Funyun crumbs like they were tea leaves. As for illuminating gang-bangs, (sorry) how about when a shooter shows up last and begins OVER-lighting the room, despite the fact that everyone's set and balanced on natural light. It's enough to make one go for their Leatherman...

that's called the wfmy screw.

 

[Flaca Productions]

i gotta say, maybe i'm wrong on this. i've always looked at it as a question of journalistic integrity, but there have been some interesting opinions expressed here.