Reality TV Lighting

[Matt Valentine]

I light a lot of dinner scenes for reality TV and I've gotten pretty bored with my setups. I typically do a 3/4 back cross key (650Fresnel, snooted, on dimmers) just out from of the standing headroom . I also bounce a 300W into table for table bounce. Any other suggestions for dynamic dinner lighting with two cameras cross shooting. What I've tried so far = China balls over head (tends to be too toppy) Large Chimera pancake with 500W Triolet, China balls on pulleys that lower down after cast sits. Typically the dinners involve 2 to 4 people sitting across from each other at a table. I'm looking for moody, romantic, soft lighting suggestions that are quick and easy and allow cameras to shoot 180 degrees (a Single setup that allows for two simultaneous dirty overs, and a 50/50 with out seeing lights. Thanks.

[Justin W. King]

What if the table was a light?

 

I light a lot of dinner scenes for reality TV and I've gotten pretty bored with my setups. I typically do a 3/4 back cross key (650Fresnel, snooted, on dimmers) just out from of the standing headroom . I also bounce a 300W into table for table bounce. Any other suggestions for dynamic dinner lighting with two cameras cross shooting. What I've tried so far = China balls over head (tends to be too toppy) Large Chimera pancake with 500W Triolet, China balls on pulleys that lower down after cast sits. Typically the dinners involve 2 to 4 people sitting across from each other at a table. I'm looking for moody, romantic, soft lighting suggestions that are quick and easy and allow cameras to shoot 180 degrees (a Single setup that allows for two simultaneous dirty overs, and a 50/50 with out seeing lights. Thanks.

[Tom Guiney]

I have had some luck using table lights. Get little candelabra based sockets and find yourself a variety of frosted glass trims, wherever you can., Chinatown? Lamp stores? It works ok. It tends to be gaining up the camera, lights on the table for a little in the eyes, dedo/pepper backlights. This is working on The Hills and other such productions. It's good for when you do't want to ruin the ambiance of the place youre shooting, in order to preserve the organicity (such as may be there) of the action. You can put bottles and flowers and stuff in between your lens and the glowing table light. You can make a lot that look rather like candles or a frosted globe or something like that. Once I even put a large light undera frosted glass table and made the whole thing glow like a light. It gets tough on the wides though, seeing any of hte light source. Again its about masking off the obnoxiously bright pieces with set dressing.

[Toby Orzano]

Reality stuff is by nature repetitive and it's more about the drama than innovative visuals. If you're bored with all the permutations of technically good setups then get one up and running in ten minutes and then go flirt with the make-up girls for the rest of the scene.

[edward read]

I would construct a foamcore light box that was the same dimensions or a few inches smaller than the table. the light bouces off the soft box and hits the talent across the table. Since the box isn't over their heads it cuts down on top light. Then your backs and kickers don't need to be so hot to overcome the top key.