Daylight or tungsten when shooting in a room with windows
Posted 21 November 2011 - 09:44 PM
1. Shooting an actor in an apartment with large windows. Daylight will be the primary lighting source, but we will have some interior lighting in the mix. If I can get away with only using a bounce board, I will. But it's doubtful. So likely mixed lighting sources here.
2. Driving in a lovely BMW, shooting the actor in the rear seat and while we are shooting, the car will enter the Holland tunnel, so bye bye daylight, hello tungsten.
The likely camera used is a Canon 1014 XL-S.
So 250D or 200t?
And stock depending, where should I have the filter switch on the 1014 for those two scenarios?
Posted 22 November 2011 - 09:26 AM
I would go with Daylight stock on both of those.
For the car, when it drives into the tunnel, it'll be ok if it goes orange (though I doubt the tunnel is T lit. Chances are it's Sodium or Mercury Vapor lighting, in which case no film will resolve the color "right.") and we expect the color shift.
For the big windows, Again, daylight is your primary lighting; and unless you want to gel all your windows, you might as well shoot daylight. For the small lamps inside, the practicals, you can get photoflood bubs for pretty cheap and re-bulb them. They're 4800K if memory serves, so they still stay a bit warmer than the daylight coming in and look really quite pleasing. They don't burn for too long, though, so turn them off when not in use. Any other augmented lighting you have can either be daylight from the get go, or you can throw 1/2 CTB on them (full eats up too much light) and let them stay a bit warm.
That's just me, of course.
Posted 22 November 2011 - 12:53 PM
Posted 22 November 2011 - 05:41 PM
Posted 22 November 2011 - 06:53 PM
Posted 22 November 2011 - 08:52 PM
I had a meeting with a DP this afternoon and we discussed the situation at length.
This is going to be fun. I cannot wait to shoot it.