Jump to content


Photo

Achieving this look


  • Please log in to reply
4 replies to this topic

#1 Vivek Venkatraman

Vivek Venkatraman
  • Basic Members
  • PipPipPip
  • 103 posts
  • Other

Posted 16 December 2015 - 08:12 AM

Hey,

 

I wanted to replicated the blue seen in the attached image. Is there any combination of Gel [cobalt blue ?] + White Balance and a bit of grading to achieve this.

 

Also if I am thinking of replicating this is it preferred to use a tungsten light source or a daylight source ?

 

The camera I will be shooting this on is a Canon 1 D C. [just in case]

Thanks

Attached Images

  • Interior ambulance reference.jpeg
  • Interior ambulance.jpg

  • 0

#2 Mark Kenfield

Mark Kenfield
  • Basic Members
  • PipPipPipPip
  • 1187 posts
  • Cinematographer
  • Australia/Wherever The Wind Takes Me

Posted 16 December 2015 - 10:21 AM

Light with daylight balanced lights, then white balance for tungsten. You may need some additional blue gels depending on the depth of colour you want to see. But I'd start with clean daylight fixtures and go from there.


  • 0

#3 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 20156 posts
  • Cinematographer
  • Los Angeles

Posted 16 December 2015 - 11:33 AM

I used to use a similar color in "Smash" for the backstage blue light, to match the deep blue compact flos and other blue work lights they left on during a performance -- I used daylight Kinos with Full CTB gel on them, with the camera set to 3200K or so.


  • 0

#4 Vivek Venkatraman

Vivek Venkatraman
  • Basic Members
  • PipPipPip
  • 103 posts
  • Other

Posted 16 December 2015 - 02:41 PM

Thanks all.

Has anyone tried Lees Cobalt blue to achieve this look ? or any other gels that get the trick done ?


  • 0

#5 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 20156 posts
  • Cinematographer
  • Los Angeles

Posted 16 December 2015 - 03:45 PM

Any deep blue gel would work, it's a matter of taste and what shade of blue you want.  I've used Congo Blue for a super-blue look, I've also used blue screen Kino tubes, which only put out a narrow wavelength in the blue range.

 

Any heavy gel is going to lose a lot of light output, though you often want to underexpose the subject to maintain the saturation of the deep colored light.  But you'd be halfway there to getting that blue color with daylight balanced sources and probably could get more light level than with tungsten lamps with heavier gels on them.


  • 0


rebotnix Technologies

Visual Products

New Pro Video - New and Used Equipment

Metropolis Post

FJS International, LLC

Gamma Ray Digital Inc

Broadcast Solutions Inc

Ritter Battery

CineTape

Abel Cine

Aerial Filmworks

The Slider

Media Blackout - Custom Cables and AKS

Tai Audio

Glidecam

Rig Wheels Passport

Wooden Camera

Willys Widgets

CineLab

Paralinx LLC

Technodolly

Broadcast Solutions Inc

Wooden Camera

CineTape

Gamma Ray Digital Inc

Tai Audio

The Slider

Aerial Filmworks

Glidecam

Rig Wheels Passport

New Pro Video - New and Used Equipment

Willys Widgets

CineLab

Abel Cine

Media Blackout - Custom Cables and AKS

rebotnix Technologies

FJS International, LLC

Technodolly

Ritter Battery

Visual Products

Paralinx LLC

Metropolis Post