A good lighting kit should be fairly close to the existing light in a setting so that shadows, highlights, and all the shades in the room don’t get muddy with different temperatures. The kit can contrast the existing lighting if there’s a reason but after trying that setup a couple times in our studio we ended up with warmer temperature lights complimenting the incandesant track lighting. Brightness is also a big concern since we are shooting on digital with a BlackMagic Cinema, a BlackMagic Pocket Cinema, and whatever Nikon or Canon we could get for a 3rd angle. Since we experimented with a few different setups we have some examples to show with setups that worked, were serviceable, and those to be avoided.
Some of our earliest lighting was with a photographers kit that provided a lot of strong but cool light. For our shoot with Ddendyl, the light actually worked out well since the cool lights overpowered the normally warm light in the room. The BMPCC, or it’s lens, has a slight green tone that was overcompensated for but other than that the post correction was slight.
For Felicia, we tried warming the blue lights we had with a red cloth on set but it really confused the skin tones. With a bit of correction we rescued the hues from being totally flattened but without stronger lighting the BlackMagic Cinema and the BlackMagic Pocket Cinema ended up too grainy.
Be was shot with our more improved setup, a light behind the main window in the studio, which acts as both a rim, and key through the spill, and a dimmer LED to the side, effectively a fill light.
The lighting for Be, and our more recent sessions, are lit with an eye toward concert lighting but with tightly framed camera angles for a much more intimate feel than most concerts or concert cinematography.