Umbrella Lighting tips & Positions (low light restaurant-URGENT.)

[rainrainrain]

Hi,

This week I will be joining a team of Professional Broadcast Videographers.
During our first event, we will be filming various interviews.
The location will be a low-light restaurant.

Since the restaurant will have very little lighting, I will be bringing two of my lights.
2 Tota lights (with barn doors) and 2 white umbrellas (Lowel Tota-Light Kit.)

In order to get the best facial lighting, where should I position the lights and which way should the lights and umbrella’s be turned (PLEASE provide a very detailed response-should they be turned to or away from the person and etc.)

Also, should I use my wireless Lavalier microphone (Sony UWP-C1) or my handheld microphone for interviews (Sony UWP-C2)?

This is very urgent. Any and all responses will be very much appreciated.

Thank You,
Warmest Regards,
Mikhail Sandler

[Cornucopia]

That's a big request. Depends on what kind of look you want it to have (and also on how much you are allowed to interfere with the regular course of business)...

E.g. "Flat" or "Moody"

I personally would go for a low positioned soft keylight (umbrella + scrim) with an even softer elevated fill and probably a specular rim light, and then some gelled Peppers (or similar) to give the background a wash of UN-overlapping spots for effect. (IOW, I would like the "Moody" version)

Also, re:mikes, I wouldn't use either one. Wireless is unnecessary in a situation with single seated interviewees, and it increases the distortion. Handheld requires a HAND. Many (me included) are not very keen on that somewhat outdated style of interviewing.
My suggestions:
Simple very high quality wired lav. Or Shotgun & Boom pole, if you need more directionality in such a "busy" and live environment as a restaurant. The better ones (Sennheisers, etc) have better response than lavs anyway. (Borrow or rent if you need to)

Scott

[julitomg]

Tota lights give out a very harsh, raw light, yours are probably in the 500-1000 Watt range so definitively you don´t want to use them directly on your subject ( s ) , and their bulit in barndoors don´t allow for that much light control anyway. It´s a good idea to use the umbrellas. Oviously the reflecting surface should face the subject, the light away from him(her). Couple of tips; first,fit the umbrella at the very end of its metal rod(or tube) so the umbrella itself when open is as far as possible from the light bulb to prevent it from burning if it´s too close(you´ll know waht I mean when you set it up) second, open fully the tota´s barndoors; don´t try to control the light "spill" or intensity with them(there are other ways to acomplish that), keeping them open avoids unnecesary heat build up(your crew and talent will eventually thank you for it)
Now, the question about WHERE should the lights go is something else; you need to take into acount several factors, like the size of the restaurant, what mood do you want to create, should the lights represent actual natural light (you can have your lightning to become "invisible" and blend into the general atmosphere for a naturalistic look or you can have a "lighted" more interview-like feel), if there are any windows, vitrals or other natural light sources, if any artificial lights are present(from candle lights to neon), if your composition includes one or more of those light sources within your scene, etc...then decide if you have to do some color correcting (in case you combine 3,200 K with other color temperatures, etc...
As a very general rule of thumb I´d use one of the totas as a "key" or main light, in one side of the camera, at somewhere between 30 to 45 degrees in respect to the straight line between your subject and the camera lens. Distance?...not too close, if you put it close to the subject, you´ll have to close your camera´s iris and the sorroundings will seem darker than they are.
The other light can be used as a fill light(on the other side of the cam)or if there is enough "ambient" light for fill, you can use it for contrast (if you move it more than 45 degrees and depending on your framing you can get interesting results, even as an almost back light or kicker light)...remember to watch for undesired or weird shadows.
As you see your is not an easy question to answer(given the few details you provide), about the mics; probably the lavalier will do better unless you have someone who is important for the interview and that ALSO will appear in the shot. If the person asking the questions will be kept outside the frame you could give him(or her) the handheld and reserve the lavalier for the subject (wheter it gets concealed in the clothing or visible will make for a "cleaner" scene), just avoid having the subject hold the handheld microphone, it´s awkward for everyone.
(Excuse my english)

[Marvingj]

You need Television Broadcast lights, any other light will not be good. also Lavalier microphone is good.
Example of Television Broadcast lights Arri 4 Head Light , Mole Digi-mole, 1200 Cine Par ,

575 Wally Light HMI . You can probably rent a set for about $50.00 a day and that a decent price.