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Florescent looks based on Kelvin


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#1 Darrell Ayer

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Posted 04 March 2012 - 12:21 PM

I have yet to really do any tests but I figured asking would be faster.
I'm curious if there is any effect differance in the look of florescent lighting when you use tungsten or daylight film. I'm curious if there is a blue green to the tungsten film as opposed to a warmer yellow green?
I became curious of this with the fact that florescent is higher on the Kelvin scale than tungsten light, and therefore cooler with the green shift. And because it's warmer on the K scale than daylight...
Thanks for the help.
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#2 David Mullen ASC

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Posted 04 March 2012 - 03:24 PM

I have yet to really do any tests but I figured asking would be faster.
I'm curious if there is any effect differance in the look of florescent lighting when you use tungsten or daylight film. I'm curious if there is a blue green to the tungsten film as opposed to a warmer yellow green?
I became curious of this with the fact that florescent is higher on the Kelvin scale than tungsten light, and therefore cooler with the green shift. And because it's warmer on the K scale than daylight...
Thanks for the help.


You're really talking about Cool White tubes, which around 4800K plus green -- so when the camera / stock is balanced to 3200K, the tube look cyan (blue + green) but when balanced to 5600K as "white" the look of the tube is sort of yellow-green. I did the detention room scenes in "Assassination of a High School President" with tungsten stock to get that cyan look from the Cool White tubes in the room:

Posted Image
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#3 Darrell Ayer

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Posted 04 March 2012 - 03:44 PM

Thanks David.
It's funny that I was just reccomended to watch that film earlier today...
As always your a fantastic help.
Darrell
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#4 Ben Brahem Ziryab

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Posted 04 March 2012 - 07:25 PM

You're really talking about Cool White tubes, which around 4800K plus green -- so when the camera / stock is balanced to 3200K, the tube look cyan (blue + green) but when balanced to 5600K as "white" the look of the tube is sort of yellow-green. I did the detention room scenes in "Assassination of a High School President" with tungsten stock to get that cyan look from the Cool White tubes in the room:

Posted Image

But then how much green spike (reading with a color meter) would you recommend for the cool white tubes? And how would you approach this with, for instance, HMI fixtures instead of KinoFlo tubes?
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#5 David Mullen ASC

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Posted 04 March 2012 - 09:48 PM

But then how much green spike (reading with a color meter) would you recommend for the cool white tubes? And how would you approach this with, for instance, HMI fixtures instead of KinoFlo tubes?


Generally I put 1/4 CTO + 1/2 Plus Green gel on an HMI to match a Cool White tube.
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#6 Adrian Sierkowski

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Posted 04 March 2012 - 10:51 PM

I have to add; with that frame which David put up, that perhaps more important than matching with HMIs ans the like, is the "normal" bulb in the lamp; which gives a nice white reference as "normal" and makes the blues looks, well bluer and the shot much more interesting than just cool-white tubes in my opinion.
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#7 Mark DAgostino

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Posted 05 March 2012 - 01:35 PM

Years ago DP Dennis Quaid sent me his suggested flourescent corrections to correct tungsten and HMI to match various types of flourescent bulbs. I thought I'd share that: 3200K Tungsten

Cool Whites: plusgreen50
*increase 3/4 stop

SP35: 1/2blue, 1/2plusgreen, 1/4plusgreen
*decrease 1/3 stop

SPX35: same as SP35

OSRAM FO: same as SP35

SP30: plusgreen, 1/3blue,1/4plusgreen

GE Light White F96T12 LW: 85, plusgreen50, 1/2 plus,
* increase 1/2 stop

GE Metal Halide MVR250/HOR U: plusgreen50, 1/2plusgreen,
1/8plusgreen, 1/8blue

HMI:

Cool Whites: Plusgreen, 1/4 Plusgreen
*Decrease 1/4 stop

SP35: Plusgreen, 1/4CTO, 1/8CTO
*increase 1/4 stop


*all increases/decreases ar above/below incident light level
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