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Stefan Sargent |
| Based in the U.K., Stefan Sargent began
his career in radio and at the dawn of television
found himself mixing sound at ATN7. Moving to advertising, he shot weekly pop videos on a 16mm Bolex for Bandstand. At the BBC, he was a cameraman, soundman, and film editor and worked on Ken Russell's Debussy with Oliver Reed. As an editor, he cut War of the Roses with director Sir Peter Hall. He has worked for corporate clients, including BP, Esso, Gillette, IBM, and Kraft, and founded a facility called Molinare in England. www.stefansargent.com. |
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Quality Lighting Kept Simple and Compact, Lighting for Green Screen on Location. |
 
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Excerpted from an article previously published in DV magazine with permission of the author. Catch a shuttle bus at 12:30 a.m. "Downtown Holiday Inn Express, please." I arrived at the airport Holiday Inn Express 15 minutes later. "I said downtown." "You said Holiday Inn." "I said downtown!" I arrive at the correct hotel at 2 a.m. The next morning, I tour the location. I'm glad I brought my tripod wheels. Decide to do a tracking shot around the lab. They give me the boardroom to shoot the interview in. I put all the chairs into the corridor. Carry out most of the tables, too. Oh, the glamour of making videos. Put the MacBook on a table in front of the camera. Set the greenscreen against the far wall. For the lights, I set up my Rifa 500-watt to the right of the camera. Put a Dedo at the rear wall for back light. Put a second Dedo down low near the victim's chair facing the greenscreen. And turn off the house fluorescents. Generally, I try to place my green screen 6 to 8 feet away from the subject. Ditto camera. It all depends on the room size. With smaller rooms, use the diagonal. My formula for no-brainer lighting: Light-interviewer-camera, or interviewer-camera-light. The side of the face facing the camera goes darker than the other side. Generally, back light should be on the opposite side as the key light. Daylight back light with tungsten front light works well- -just keep them on opposite sides. With good daylight coming into the room, say on the right, put the interviewer to the right of the camera. Turn the chair to get the best balance, but never have the daylight strike your subject straight on. Camera-interviewer-daylight from window. Add back light to suit. Lighting equipment used in photos: Rifa 55 (500w), and two dimmable Dedo lights (150 watt ea.) |
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