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mixed lighting?


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#1 Molly Corey

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Posted 25 April 2007 - 02:40 PM

I am shooting a 16 mm short film which takes place in a library. There is a mixture of daylight and flourecence and I cannot bring in outside lighting. What can you suggest to use to get as make as corerect and fantastic color as possible. I know I can fix some of it when i telecine. But I would like to try to work it in the camera first. Also I want to get as fine grain as possible, but I think the lighting is a bit dim. Would 500d film be just terrible for grain? Has anyone heard of this fuji reala? Is the 200d good on removing the green?
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#2 ryan_bennett

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Posted 25 April 2007 - 04:39 PM

Yes, I've used it and other members on the board here have also, there are a few different discussions about it, use the search function, a member is even kind enough to post examples of his work(mine will be up within the next week).
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#3 timHealy

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Posted 25 April 2007 - 04:44 PM

I am shooting a 16 mm short film which takes place in a library. There is a mixture of daylight and flourecence and I cannot bring in outside lighting. What can you suggest to use to get as make as corerect and fantastic color as possible. I know I can fix some of it when i telecine. But I would like to try to work it in the camera first. Also I want to get as fine grain as possible, but I think the lighting is a bit dim. Would 500d film be just terrible for grain? Has anyone heard of this fuji reala? Is the 200d good on removing the green?


Can you figure out what kind of flurescent bulbs are in there? Cool White? Warm White? And how much green is there? You may need a Color temp meter to accurately figure it out. Some with an experienced eye can get it to match by looking and estimating. The bulbs may be mismatched if the building is old.

Than you may have to ask yourself or the locations people if you can gel the daylight (windows) to match the bulbs or match the bulbs to match the Windows.

You may be able to balance your film to the interior and let the windows go depending on how you are shooting.

Best

Tim
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#4 Jonathan Bowerbank

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Posted 25 April 2007 - 05:20 PM

You can usually tell just by looking whether the fluorescents are cool white or warmer. But then you have to only worry about the green spike of the fluorescents. So gelling the fluorescents with a lil' minus green might be necessary.

If the daylight is overpowering the fluorescents, you might not have to worry as much. But generally, when you go to telecine, the keying and balancing out of the fluorescents shouldn't be a problem at all.
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#5 Alessandro Machi

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Posted 25 April 2007 - 11:47 PM

Yes, I've used it and other members on the board here have also, there are a few different discussions about it, use the search function, a member is even kind enough to post examples of his work(mine will be up within the next week).


When you say you've "used it", you could be referring to Kodak 500T, 200T or Fuji Eterna, no?
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Broadcast Solutions Inc

Willys Widgets

Tai Audio

Opal

Metropolis Post

rebotnix Technologies

Media Blackout - Custom Cables and AKS

Visual Products

The Slider

Rig Wheels Passport

Glidecam

CineLab

Wooden Camera

Gamma Ray Digital Inc