At first please be pateint an forgiving with my bad englsih, as it is not my native language...
I'm from Germany and I'm a finished film student right now, doing the DP job as good as I can for about 8 years from now. Not to say I am all ready as a DP. Think I will never be as there is allways something new to learn.
So back to my topic...
I will shoot a msuic video in about three weeks.
Setup will be a dungeon scene, low-light, pürobably lit by fire and aditional tungsten lighting. Maybe ther will be some "moonlight" through some real or faked windows with girders. But I'm not a friend of doing this "hmi-moon" when shooting tungsten whitebalance.
So I don't want the tungsten or fire to be warmish. The dungeon part (which is about 90% of the video) should be a neutral to cool unfriendly atmosphere.
The basic options now are the Red One or super16...
Super16 I am familiar and I would say more than basic experienced as I shot everything form n8 to s35 in recent years.
I am not very experienced in the Red One. The only Shootings we have done with that camera were in daylight or hmi lighting and there have been no low-light situations.
Other (my preferred) shooting format would be super16 on the 500t eterna, which I get 50% off. The same can be said about lab and telecine. I know super16 will be more expensive. The basic numbers say about 1-1.5k euros but this is not the major issue.
The problem is, that the director, who is a close friend of mine and the band also finances part of the shoot (and my salary) would prefer the digital route of shooting.
As we shoot another video (what is 90% daylight outdoors) just in advance of this one the DP of this video and me decided to choose the Red One as a compromise. But I am not sure if this is a good decision for my setting.
The Band we are shooting for ist www.coppelius-band.de, so it is more likely an oldschool look and style I want to achieve
Has anybody tested the Red One with a white balance set or processed to 2800K or below and 500ASA?
A close friend of mine who owns one says it would be worst case for the camera. Any experiences with that?
I have very detailed opinions on how to light and pretty much experience on lighting so, this is not the problem and question here.
If no torches or fire would be in the frame (what I would dislike) it would also be possible to simulate fire with 5.000K by adding gels tu the flickering tungsten lights. But this will cost 2 stops of light, which I think can't afford, as I have limited time for the entire shoot and little space for hiding big fixtures...
Although any hints would be appreciated
Avice on Red Shoot vs Super16
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