Lighting Office and Kitchen

cscs · February 23, 2009

Hello,

I was wondering if anybody could help me. I have attached two photos of a kitchen and office I am shooting in.

I would like th office to have a green tint to it and was wondering what the best way acheive this with floresnt lighting and natural sunlight coming from the windows would be.

Also in the kitchen I would like to create a blue tint using the sunlight and a HMI outside the window.

Hope this makes sense.

It's a small student budget and I have acess to redheads, Kino's fresnals and a 2.5 HMI. I will most likely be shooting on fuji 500t.

Thanks

Cenay

cscs · February 23, 2009

Also I was wondering whether it is possible to chage the colour of the image sucessfully in post and whether this is a safer option.

Thanks

Cenay

David Rakoczy · February 23, 2009

Office - Use the HMI and Kinos with 5500k Globes... add 1/4 or 1/2 or Full Plus Green to any Fill/ Key Lights which are supposed to be recreating the overhead Floros. Example: Use the 5500k Kino's for fill and use the 2500 par with the selected Green gel for the overhead(ish) Floro feel. I would use Half Plus Green at least as it will be mixing and diluted by the sunlight coming in. You might even go to Full Plus Green with all that sunlight wash coming in. Hence, the 2.5 par will still have output even through Full Plus Green. SHOOT YOUR COLOR CHART IN 5500k LIGHT.

Kitchen - use the HMI and Kinos with 5500k Globes. SHOOT YOUR COLOR CHART WITH 1/2 CTO ON THE 5500k LAMP YOU USE TO LIGHT YOUR COLOR CHART.

Both of these will hedge you in the direction you are looking for... then do the rest in Telecine... Attend the transfer or communicate directly with the Colorist or have him send you JPeg Stills during the Transfer so you can make adjustments.

Why use 500t? Why not use a much slower stock?.. unless you like a grainy image. Looking at the Office, I'd use 200t... possibly 100t... and 100t in the Kitchen.

Ryan Thomas · February 23, 2009

Why use 500t? Why not use a much slower stock?.. unless you like a grainy image. Looking at the Office, I'd use 200t... possibly 100t... and 100t in the Kitchen.

And hey, why even tungsten film? It seems like you'll be going with daylight with the large windows and HMI's, so maybe switch it up to daylight. Just a thought...

David Rakoczy · February 23, 2009

And hey, why even tungsten film? It seems like you'll be going with daylight with the large windows and HMI's, so maybe switch it up to daylight. Just a thought...

... and a good thought.

Well, for me, I don't like 250d. It has more grain perception than 200t and no where near the tightness of 100t. So, I use those two stocks almost exclusively. I almost always have some sort of flavor of ND in the lens so it is pretty simple to make that an 85ND... or in lower light situations a Straight 85... and even lower just leave it out and add the 85 in telecine. Also, 250d is known for it's acceptance of varied color temperatures so again I would use 100t & 200t as I think the various color temps desired by the original poster will be a tad more defined on these two stocks.

If you don't already own this book... I suggest you rush order FILM LIGHTING by Melkiewicz... fantastic!

cscs · February 28, 2009

Thanks for all the help it is much appreciated .

I have chosen to shoot on Fuji 250t, I would have gone for a daylight stock but also have a few night interiors that will be lit with tungsten's so thought I'd stick with tungsten stock and color correct the daylight scenes instead.

I have also ordered the book by Malkiewicz, thanks for the recommendation.