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Mixing Tungsten and Daylight for Red???


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#1 Robert Gardner

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Posted 06 December 2008 - 10:20 AM

Hi there,
Will be lighning the first time for a Red soon. We have loads of exterior location shoots where I will just be using Daylight and might kick in some 6K or 12K if needed. 2 days will be shot in studio. Most people I've talked with so far recommended sticking with Daylight for the studio as well. Would it creat a problem if I would use Tungsten Lights insted of HMI's? Apperently the Red reads Daylight better than Tungsten. My question would be, is Tungsten Light a big NO for Red's or does it depend on what I want to do? And what about mixing Daylight with Tungsten Lights?
Any advice is highly appreciated,
Cheers, Rob
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#2 David Mullen ASC

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Posted 06 December 2008 - 12:11 PM

Sure, you can do your stage lighting all in tungsten on the RED; I'd stick to a 320 ASA rating if you can because the noise problems escalate faster in tungsten mode as you underexpose.

Lighting with HMI's in daylight mode would just give you a cleaner look, but certainly the tungsten-lit scenes would be intercuttable.

Another option is to use a pale blue filter on the camera in the tungsten-lit scene, if you have enough exposure, for a halfway compromise between 3200K and 5500K.

These are some RED frames of scenes shot in tungsten (ignore the heavy JPEG compression):

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#3 Robert Gardner

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Posted 06 December 2008 - 12:36 PM

Sure, you can do your stage lighting all in tungsten on the RED; I'd stick to a 320 ASA rating if you can because the noise problems escalate faster in tungsten mode as you underexpose.

Lighting with HMI's in daylight mode would just give you a cleaner look, but certainly the tungsten-lit scenes would be intercuttable.

Another option is to use a pale blue filter on the camera in the tungsten-lit scene, if you have enough exposure, for a halfway compromise between 3200K and 5500K.

These are some RED frames of scenes shot in tungsten (ignore the heavy JPEG compression):

Posted Image

Posted Image

Posted Image





Hi David,

Thanks for the quick reply. Was thinking of using filters or correcting the lights themselves. As you said not sure if there is enough of a budget to compensate for the light loss and get bigger or more lights. It's all more or less low budget.
Would you say to use a pale blue filter is better than shooting clean and wait till post?
I personaly like to do as much as I can during the actual filming ( my background is more film vs. digi. )
But ja, you recon there isn't a big problem mixing tungsten with daylight in general.
Cheers
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#4 David Mullen ASC

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Posted 06 December 2008 - 01:36 PM

It would be simpler to just light all-tungsten and use a pale blue filter -- any amount of blue correction would help a little with the noise in the blue channel.

Another option would be to mix HMI's and tungsten and gel the tungsten, or use the tungsten for warm lighting effects. I did this a lot on "Manure", had a daylight base and tungsten units to create golden sunset effects.
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#5 Bob Hayes

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Posted 07 December 2008 - 12:05 AM

I?ve been using Kino Flos with half of the bulbs tungsten and half daylight. Seemed to work pretty well.
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#6 Robert Gardner

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Posted 08 December 2008 - 01:50 PM

I?ve been using Kino Flos with half of the bulbs tungsten and half daylight. Seemed to work pretty well.


Thanks for all the advice. I'ce decided to have a HMI base and use Tugsten for warm effects.
Also thought about mixing my Kino's. See how it all works out.
Cheers,
Rob
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