I was recently on a four-day agency job up in Northern California, and it was one of those “move fast, figure it out” schedules: multiple locations, tons of driving, and I was basically a solo operator handling video, lighting, and audio (with a director/producer helping wrangle gear). In this video I break down four interview setups—what I did, why I did it, and where I think I could’ve done better. It’s a mix of real-world constraints (working grocery store, tight time windows, mixed lighting) and the practical decisions you make when you still need the shot to look clean and client-friendly. I walk through an interview in the forest where I used an artificial silk to soften harsh sun, negative fill to control spill, and a foam core bounce to keep the face welcoming (this was for a bank, so I was intentionally avoiding the super moody “cinematic” vibe). Then we go inside a bank where I’m balancing tungsten practicals with daylight spill, using a 300X plus negative fill and my Infinity Bar as a consistent hair/background tool. I also cover a produce-section interview lit almost entirely with the Infinity Bar, matched to the store lighting, shot at 12,800 ISO on the FX6—because sometimes you don’t get room or time, you just get one light and a deadline. Biggest takeaway: control spill with neg, match color on purpose, and accept that “perfect” exposure isn’t always realistic when the talent moves and the schedule is insane.