Jump to content


Photo

Working out gel / kelvin combinations


  • Please log in to reply
3 replies to this topic

#1 Jonathan O'Neill

Jonathan O'Neill
  • Basic Members
  • PipPip
  • 25 posts
  • Cinematographer
  • Nottingham

Posted 19 January 2017 - 05:56 AM

Hi,

 

I'm looking for a similar look to this attached image.

 

Does anyone have a good way to work out what the combination of gels and in camera kelvin which are needed to achieve the warm lamp light vs the cooler green backlight?

 

i.e. an app which you can input the RGB picker info, and it will give you a corresponding LEE filter combination?

 

Alternatively, do you know what the in camera kelvin is likely to be, the kelvin for the lamp light, and what the kelvin and gel for the backlight is likely to be?

 

Cheers

Jon

Attached Images

  • vlcsnap-2009-09-20-17h03m28s20.jpg

Edited by Jonathan O'Neill, 19 January 2017 - 05:58 AM.

  • 0

#2 Mark Dunn

Mark Dunn
  • Basic Members
  • PipPipPipPip
  • 2665 posts
  • Other
  • London

Posted 19 January 2017 - 07:57 AM

There has been no colour management between the scan and the image you find on the web, so the colour picker idea is a non-starter.

"Casino Royale" was shot on 35mm. so there's no "in-camera kelvin". It was more than likely shot on daylight-balanced stock to match HMI lighting. I don't think the lamp is a practical- it might even have been a photoflood or similar tungsten fitting. If I'm right about the HMI, the light on Bond has been gelled orange and the background light gelled blue to take it above daylight balance as it looks a little cold. There may be a little green as well, it's hard to tell on my monitor.


  • 0

#3 Michael Sanders

Michael Sanders

    New

  • Basic Members
  • Pip
  • 2 posts
  • Cinematographer
  • London

Posted 20 January 2017 - 04:48 PM

P-cam on an iPhone allows you to work out mired colour shifts, but those colour shifts might not render as you want on camera to the green you want.

 

It could be an FX gel like 219 or 242 (Tungsten to Florescent) and probably timed a bit more in the DI. 


  • 0

#4 Mark Kenfield

Mark Kenfield
  • Basic Members
  • PipPipPipPip
  • 1160 posts
  • Cinematographer
  • Australia/Wherever The Wind Takes Me

Posted 20 January 2017 - 06:14 PM

The silvery blue moonlight in the background looks like tungsten with half CTB to me, and the key light looks like dimmed tungsten (or tungsten with added CTO for warmth (to match the dimmed practicals on the walls).

I'd assume it was shot on 500T (tungsten) stock.
  • 0


Paralinx LLC

Rig Wheels Passport

CineLab

Willys Widgets

Gamma Ray Digital Inc

Tai Audio

Ritter Battery

New Pro Video - New and Used Equipment

Visual Products

FJS International, LLC

Metropolis Post

CineTape

rebotnix Technologies

The Slider

Broadcast Solutions Inc

Wooden Camera

Technodolly

Abel Cine

Media Blackout - Custom Cables and AKS

Aerial Filmworks

Glidecam

Gamma Ray Digital Inc

Metropolis Post

Technodolly

Tai Audio

Ritter Battery

FJS International, LLC

Aerial Filmworks

Visual Products

New Pro Video - New and Used Equipment

CineLab

Wooden Camera

Paralinx LLC

Media Blackout - Custom Cables and AKS

Abel Cine

Broadcast Solutions Inc

rebotnix Technologies

The Slider

CineTape

Glidecam

Willys Widgets

Rig Wheels Passport