Tungsten Lights for day scenes(Storaro)

[Sol Train Saihati]

Hi All,

 

I've often read about Storaro's technique of using tungsten lights during daytime scenes to supplement the existing light, has anyone tried this recently? I would imagine a very warm look, but does it begin to feel totally unnatural? Anyone seen any films where this technique has obviously been used?

 

Sounds like a cool idea to me, very much up my ally, but I dont want to be up nights worring about one more thing!

[John Pytlak RIP]

Hi All,

 

I've often read about Storaro's technique of using tungsten lights during daytime scenes to supplement the existing light, has anyone tried this recently? I would imagine a very warm look, but does it begin to feel totally unnatural? Anyone seen any films where this technique has obviously been used?

 

Sounds like a cool idea to me, very much up my ally, but I dont want to be up nights worring about one more thing!

<{POST_SNAPBACK}>

 

Mixed lighting can be used creatively. Tungsten fill used with daylight or HMI key would tend to warm the shadow areas.

[David Mullen ASC]

Storaro generally uses uncorrected tungstens in daytime to suggest late afternoon or sunset, which is not unrealistic actually because a setting sun can drop below 3200K in color temperature.

 

I've even added MORE warmth to a tungsten lamp in a daylight-balanced scene to suggest sunset. And I'm sure he has too...

 

If he doesn't need that much warmth, he gels the tungsten lights bluer. Sometimes he uses daylight carbon arcs and even rarer, HMI's.

[Paul Bruening]

Hello,

 

Keep in mind that gelling a tungsten up to daylight can eat as much as 85% (about 2.5 stops) of that unit's footcandles not to mention burning up gels at a relatively rapid rate. Dichroic PARS run at 5200 kelvin, cost about $140.00 each (1K) and can go into a theater can that costs around $30.00. They only lose about a half-stop in energy due to the dichroic coatings, so, they are much more efficient than gelled tungstens. You could easily gel them with whatever mild color without much loss of footcandles. All this means- less power demands to get your fills.

 

Just a thought.

[Kevin Zanit]

If I want to warm up the light for a sunset effect I generally will warm up an HMI, unless I am going for something so warm that using that much CTO is inefficient. In that case I would use a tungsten unit.

 

I sometimes use tungsten light on the performer with tungsten film outside. It creates a blue background, with the actor's appearing natural.

Here is an example of that effect:

(it was a reference photo I took for a music video I was prepping) 100T slide film outside. I just placed the girl in the shade and used a 1k PAR with opal on it right over camera. Hard on her eyes, but worked for the still. I did not exactly have a full lighting package to take the reference photo :D

 

 

Kevin Zanit

[Rolfe Klement]

Yeap - I did the same thing for a rain scene - loads cheaper than lighting an entire background in blue.

 

Cold lonely feel needed for the shot

 

I have worked with some guys who very cleverly light the foreground one colour based on leaving the larger background scene as is, then when printing or TK - balance the other way and it all works out perfect - useful for supermarkets etc

 

thanks

 

Rolfe

[oscar jimenez]

As we are talking. set up source 4k corr w/ 1/2 cts.

[oscar jimenez]

Another similar set up. Warmth source 2.5 with 1/2 cts again!!