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green soft tubes for keying greenscreen ...


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#1 Delorme Jean-Marie

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Posted 18 January 2006 - 10:46 AM

hello all
i recently read an article about a dop lighting green screens with special green tubes (4X120) by Kinoflo for keying.
I wonder if the same technic exist for bleue screens?

Also i have maybe a stupid question :

with a stock for 3200°K and a light at 3200°K i obtain a white light
With a stock for 5600°K and a light at 5600°K i obtain a white light
and the same cases with twisted corection filters i obtain a white light
is it the same white light in all the setups?

Thanks
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#2 Stephen Williams

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Posted 18 January 2006 - 11:25 AM

hello all
i recently read an article about a dop lighting green screens with special green tubes (4X120) by Kinoflo for keying.
I wonder if the same technic exist for bleue screens?

Also i have maybe a stupid question :

with a stock for 3200°K and a light at 3200°K i obtain a white light
With a stock for 5600°K and a light at 5600°K i obtain a white light
and the same cases with twisted corection filters i obtain a white light
is it the same white light in all the setups?

Thanks


Hi,

Kinoflow do make blue tubes if you want. I don't bother using them myself.

Yes, Sunlight +85 filter will correct the daylight with film balanced for 3200 with 2/3 stop loss.
A 80a will allow Daylight film to be used with 3200 light, only problem 2 stops loss!

The light should then look white!

Stephen
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#3 Delorme Jean-Marie

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Posted 18 January 2006 - 12:51 PM

Hi,

Kinoflow do make blue tubes if you want. I don't bother using them myself.

Yes, Sunlight +85 filter will correct the daylight with film balanced for 3200 with 2/3 stop loss.
A 80a will allow Daylight film to be used with 3200 light, only problem 2 stops loss!

The light should then look white!

Stephen

thanks mr williams.
So if the look of the light is the same white either for a practical source or the sun is it better for a "realistic look" to warm a little the practical and "cool" a little the daylight ?
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#4 Sol Train Saihati

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Posted 18 January 2006 - 01:02 PM

Hello.

Kino do indeed make super blue tubes. They're not absolutley essential, but it usually makes the compositor very happy if you can get hold of them! They're usually the same price as regular tubes too.... Lighting Blue/Green Screen is no sweat, but I always try and use them if I can.

Good Luck.
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#5 Delorme Jean-Marie

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Posted 18 January 2006 - 01:08 PM

Hello.

Kino do indeed make super blue tubes. They're not absolutley essential, but it usually makes the compositor very happy if you can get hold of them! They're usually the same price as regular tubes too.... Lighting Blue/Green Screen is no sweat, but I always try and use them if I can.

Good Luck.

hi thanks for reply do you confirm half stop over the key for the bleue screen?
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#6 Mitch Gross

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Posted 18 January 2006 - 01:18 PM

hi thanks for reply do you confirm half stop over the key for the bleue screen?


I always underexpose the screen, green or blue. Usually between half and one full stop.
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#7 Stephen Williams

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Posted 18 January 2006 - 01:38 PM

I always underexpose the screen, green or blue. Usually between half and one full stop.


Hi,

I usually go under about a stop on green, but keep blue nearer to Key. It depends on the shade of the color and the contrast between forground and background. I don't want to have to push the blue in post as grain & noise can become an issue. Some DP's always overexpose 2/3 stop to start with, so advice given can vary, but both DP's may be doing the same thing!


Quote
So if the look of the light is the same white either for a practical source or the sun is it better for a "realistic look" to warm a little the practical and "cool" a little the daylight ?


Yes, thats where the fun comes in, adding gell to lights to set the mood.

Stephen.
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#8 Delorme Jean-Marie

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Posted 18 January 2006 - 03:57 PM

thank you very much gentlemen
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Media Blackout - Custom Cables and AKS

Broadcast Solutions Inc

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Visual Products

Aerial Filmworks

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