Edward

Thanks for the advice everyone - I think we are going to light the set with a few Kino Flo Image 40 lights as we don't want it to get too hot and then we can easily change the tubes at a later date without having to change the lights if we want to switch from daylight to tungsten. I'm hoping we can set it up so that the window isn't in the shot, but I am sure that there will be light spilling into the studio space. What would be nice is if someone made windows like those sunglasses that get darker as it gets lighter outside. Has anyone ever seen anything like this? Edward

Thanks John, that is what I was thinking. What I am not sure about though is whether I should go with daylight lighting or for tungsten with colour corrected windows. The cost might answer this question, however if we colour correct the windows we could then no longer use daylight lighting in the studio as we would always have a tungsten fill light coming from the corrected daylight! I guess that what I really want to know is if there are any advantages to using either tungsten or daylight, or does it really not matter? What do people tend to use for talk show events in a studio? Does either produce a better image? Does one type of light tend to be more efficient than another? I have seen several news shows set in studios overlooking various cities - is this done with a blue screen or is there really a window in the background? Edward

Hello, we are about to build a live studio space in a museum and the room it will be in has been designed with a huge window that lets in the daylight - we suggested that the room was dark, but the museum were afraid that this would put visitors off from entering the studio to watch the live programmes! They don't want to use curtains either as they want people to be able to see in from outside during the show. What I am wondering is whether or not we should go for daylight or tungsten lighting for the studio, and what to do about the window? I was thinking a big ND gel to cut down the light? One of the consultants suggested colour correcting the daylight to tungsten with a gel over the window? Any advice? Thanks, Edward

Thanks Lars, any tips on using the Zebra? I have had people telling me to set it to 70, 90 or 100, but I think that it is probably more important to know how much zebra you can get away with in the picture rather than which setting to use. One problem I get is where there is a bright light or sunlight to one side of the subject and then I end up with one half of the face over exposed and the other half under exposed (a poor lighting ratio I guess) - without a monitor with me it would be nice to know when this is a danger so I can use a reflector or light to provide the correct fill.

Hello, I'm trying to figure out a foolproof method to get perfect exposure using my Sony HVR-Z1E camera - I have already asked a few people I know who just tell me to use the screen on the camera, however in the past this has sometimes let me down. I can't really carry around a monitor with me to check the picture so I have been playing around with zebras, auto iris etc. however I was wondering if I should invest in a hand held light meter? I have just bought a couple of Dedo 150w lights and a Lowell Rifa 500w light for filming interviews and I would like to know how to get a nice lighting ratio. Any tips? Thanks, Edward

Thanks for the advice, I have now narrowed it down to two soft lights, either a Lowel Rifa 500 w or the Kino Diva 400. The Diva is heavier and more expensive, but the daylight tubes and dimmer are a huge bonus; the weight is still swaying me towards the Rifa though. Which light is the most versatile/ cost effective in the long run?

I'm looking for a portable lighting kit (I'll have to carry it around a lot of the time on planes, trains etc.) for interviews etc. and I was wondering if anyone has any experience of the following kits: http://www.cirrolite.com/lighting_kits_KDS31S.html http://www.cirrolite.com/lighting_kits_KAD41.html I already have a couple of Dedo DLH4 lights, but I need a soft light to use with them - I'm not sure if I should get a softbox like a starlight or lowel rifa or else go with something like a kino diva 400. I need to be able to set up and take down the lights quickly too - the diva 400 looks like a good bet to me, but it is quite heavy. Thanks, Edward

I have been recording 5 second handles before and after when possible - however as I am doing documentary work I sometimes don't have time to do this as something interesting will just happen with no warning. If I roll the tape to review what I have filmied I always do an end search and this doesn't seem to cause any problem. However my editor is still telling me off because there are so many time code breaks, and I have never had this probelm before with a PD-170. Maybe there is a problem with my camera?

I have recently been using a Sony HVR-Z1E camera and I have been getting multiple breaks in the time code on most tapes. I'm filming in PAL DVCAM mode and I have not taken the tapes out of the camera. If I look at the rushes I have done an end search afterwards. There seem to be two different time code settings, 'preset' and 'regenerate' - I have to use 'preset' to set the initial time code - should I then be switching to 'regenerate' to prevent time code breaks? If so this seems a bit fiddly.

I recently bought a Z1 and I think that it is a better investment than a PD-170. Even if you are shooting in DVCAM mode the quality is much better than the PD-170 and if you take into account that you have to buy a widescreen adapter for the 170 if you want to shoot in 16:9 it works out at about the same price.