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Mixing Tungsten and Daylight for Red???


Robert Gardner

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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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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):

 

900%20Stay%20Cool%20113.jpg

 

900%20Stay%20Cool%20127.jpg

 

900%20Stay%20Cool%20141.jpg

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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):

 

900%20Stay%20Cool%20113.jpg

 

900%20Stay%20Cool%20127.jpg

 

900%20Stay%20Cool%20141.jpg

 

 

 

 

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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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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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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