It's the tripod that's the give-away. Tripods pose a potential liability issue for local councils when they are used in public places. Members of the general public might trip over them even though your know that it's unlikely. If you are shooting for a network it's best to make sure that you have releases from people who have identifiable  appearances in your footage.

You will have to supplement the light coming from the campfire flames with artificial sources. The best lights to use for is are small battery poweredLED lights covered with orange gel (CTO) doubled over to increase the warmth – it will give it the LED's a nice warm firelight colour.

The idea is to make the glow from these lights appear to be a natural part of the scene and the easiest way to do this is to include a camp light lamp in the scene, placed to one side to side-light the people sitting around the campfire.

A kerosene lamp or battery fluorescent light can work and would not look out of place. By "side-lighting" your subjects, you create an unlit darker side to the faces of those sitting around the fire and this allows the light from the flames to "play" on this dark side of the face.

The output of a practical lamp is sometimes not enough, so you may need to hide a few battery lights to lift the level of what is already happening with the camp-light. Place your battery light just out of shot, and at an angle that makes it appear that it's the practical in-shot lamp that's doing all the work.

Finally, you could try to get some light happening behind the actors to separate them from the black hole in the background – headlights from a vehicle are great for this. The vehicle should be just out of shot and the headlights shining on to the back of the people or illuminating a tree in the immediate background.

If it’s a period story, using just campfire light, use your battery light again, but this time place it on the ground pointing up at the actor/s. Some orange gel (CTO) doubled up and placed over the light source will give it the warm firelight colour, and a little diffusion will help blend it in with the firelight. Make certain that the level of light is low so that you can still see some of the flames from the fire playing on the face. Keep the flames burning so have lots of wood standing by.

This was a talk on lighting basics I gave to filmmakers about to shoot their first film for the annual Tropfest Film Festival held in Sydney in February each year. There are helpful suggestions on which lights are best for particular shooting situations (duration 05:22)

Sony RoughCut lighting talk from Pieter de Vries ACS on Vimeo.

The green screen should be set at around 3 meters from the subject and the larger the screen the better. Try to not compromise on this distance from the subject, even if it means choosing another location. 

This gives you separation from the screen and reduces the amount of green reflecting off the screen and onto the back of your subjects. This green contamination is a real no-no.

Light your screen separately. Lowel Tota-Lites are good for this however KinoFlos or Lowel Caselights are also very good. I position one to each side and run them through a dimmer to control the output. The plan is to get an even spread on the screen with each of the lights washing out any creases in the fabric if that's what you are using. Lighting the screen so that it's one stop darker than the subject is a good rule of thumb.

Once you are happy, light your subject separately using all the modelling with the light and shade that you would normally use. Keep in mind that strong back-light on the hair and shoulders can exaggerate the fact that’s it is a green screen shot when the final composite is done. When you have finish lighting the screen, turn off the lamps lighting your subject so you can check to see if any green is reflecting back onto the backs of the subject. A small amount of back lighting will generally take care of this problem. It's important to make sure that there is no reflected green from the screen falling on the back of your subject – if there is, it will come back to haunt you as the production manager coughs up the extra dollars for the editor to clean up the problems.

Even lighting

As an on-camera light, the Lite-Panel LED is hard to go past. The ability to trim the brightness for any given lighting situation is important and this light allows you to do that. The daylight balanced 50 degree model works best as an on-camera light in my experience.

Use a piece of CTO correction gel for the tungsten lighting situations but you will loose some output as you'd expect. It's perfect for a night shoot inside a car and the wider beam of the two is more versatile.

Rosco LitePads also work nicely and have the ability to fix any lighting holes; those places where you find hard hide a light. Interior scenes in vehicles at night are nicely taken care of with LitePads along with so many other potentially tricky situations. These are my favourite light because of the different shapes and sizes that are available.

The great thing is that when you use it, nothing feels lit. It just appears like you've gotten lucky with soft natural available light every where you point the camera and we all know life's not really like that. It's the balance of light's output on the subject compared to the background that's the key to making it work.

As long as you can get the light reasonably close to your subject, remembering that if it’s a daytime exterior interview it’s a little harder to fill; the ambient daylight level will probably be quite high in the first place. The small on-camera light panel is even good used as a key light in low ambient light situations. It’s in the great sunny outdoors that you find there is not sufficient output.

I’d go for the wider beam version. It performs better as an all round camera light, but you'll have to power it from a separate battery (9v to 19v) in say a waist bag, as the battery provided clips onto the back of the light and makes the camera far too top heavy. It's no Sun-Gun, but a beautifully subtle lighting tool for video.

© 2013 Pieter de Vries ACS

Photographic tripods consist of two primary parts – a tripod and a fluid head, however it is common to refer to the whole unit as a tripod or a tripod system. 

To get precision pans and tilts, you have to take the time to balance the camera once it is mounted on the fluid head. Australian manufacturer Miller Camera Support design and build a broad range of tripod systems so I will discuss the Miller DS10 Carbon Fibre system here. 

On the Sony PMW-EX1R and some other digital video cameras, you must be sure that  ALL OF THE MANUAL ADJUSTMENT icons are active if you want to have full manual control over your camera.

Iris, Gain, Shutter Speed and White balance settings and icons must all be in seen along the bottom of the screen. Do this by pushing the corresponding Iris, Gain, Shutter Speed and White balance buttons on the camera.

Here is why

The camera software assumes that any parameter that you don't see on the screen must be automatically adjusted by the camera. For example, if you have all of these settings active except the GAIN, the camera will automatically make a gain level adjustment for you when the picture is too dark. Even though you have control of the IRIS, it appears to be adjusting the light level automatically when panning to dark area of the scene. 

It's not the IRIS that is automatically adjusting here, it's the GAIN.

Finally, remember, "locking" the manual adjustments by sliding the switch to the HOLD position locks out ALL the adjustments, including the iris, which is the one thing that you usually need to have control over.

© 2013 Pieter de Vries ACS

A few years back I was filming a documentary with Mark Strickson a natural history director with Bristol based UK production company, Partridge Films. We were shooting sequences for Discovery Channel in Far North Queensland in Australia, and were at the tail end of a six week stint shooting "Deadly Crocs" with then relatively unknown Croc Hunter, Steve Irwin. Steve was the same then…and I claim little more than to have introduced him to the art of making and drinking decent strong coffee while we were camping. This may have been a catalyst to his rather odd presenting style.

Having finished most of Steve's sequences, Mark and I set up our tents by the South Kennedy River in Far North Queensland, Australia. We planned to leave early in the morning for a pleasant filming trip up the river in our small tin boat in search of Salt Water Crocs. The next morning we slowly motored up river heading north towards the mouth of the river. There were a large number of "Salties" sunning themselves on the muddy banks. This was encouraging. The river ahead divided, and on the bank where the river split, there was a large lifeless salty taking in the sun. Mouth open and rock solid, it lay motionless in the distance.

I decided to shoot initially from a distance to get a safety shot. This is the shot to get in case I the subject takes its leave. He or she could become shy and quickly slip into the water. I asked Mark to give me some forward motion with the motor to help stabilize the boat and then suggested he switch it off and allow us to drift quietly towards the croc. The resulting footage was smooth as I had my Miller Arrow HD tripod straddling the uneven floor of the boat. It appeared that this animal was very much at ease in the sunny spot and as I knew that I already had a few great shots in the can, I thought we go for the cream. With the tiny outboard switched off, we drifted into the bank with some assistance from the oars. The bow of the boat wedged into the muddy bank around two meters from our croc who was still very much in relaxed mode. 

I found an even closer handheld shooting position at the bow and decided to stabilise myself by quietly placing one foot onto the bank. The plan here was; one foot on the bank and the other in the boat. This prevented the tinny from sliding back off the bank. As I put my foot onto what I though was solid bank, my whole leg sank down, into the mud, all the way to my thigh making an obscene squelching noise! I couldn't pull it out – my let was in too deep and the suction was too strong. 

I whispered loudly to Mark to fire up the outboard and reverse rapidly to yank my leg out. I was there with one foot on floor of the tinny with the other leg buried and seemingly permanently imbedded in three feet of mud. The nine footer was only two meters away and now getting wary – I had nowhere to go. The outboard motor didn't start (have you ever know an outboard to start first go?) and by now I was making way too much noise. Had the croc decided to strike, it would have been curtains.

I'm happy to say that the option of grabbing me, a meal for the taking, was mercifully, not as enticing as the joy of continuing to lie in the warmth of the tropical sun. I can recall his/her eye slowly opening, a slow look to me then…. closing again and back to the business of sleeping. There is truly no way that I could have escaped. I did eventually extract the leg and so here to tell the story.

The trip back to the camp site was interesting. The tide had retreated and the river level by now was dramatically lower. What water there was, was a torrent that flowed the wrong way! We ended up having to carry the boat full of 16mm camera equipment over the rocks . Then we ran out of fuel!

Almost dark and in full view of the many crocs now forming a peanut gallery along the banks, we must have been a site for sore eyes. None of them moved off the bank to take us. I think by now they just felt sorry for us.

© 2013 Pieter de Vries ACS

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For a night shoot, often full of mixed light sources, use the pre-set tungsten/indoor camera setting. This will cover you for the lighting nasties that can play in the scene and it will look the most natural. 

It's helpful to know the best way to work with what nature dishes out – sunshine or cloudy days. Click here to read how