help with color temperature

[Marc Gallifa]

Hi,

 

I’m new here and want to give you regards from Barcelona (Spain).

 

I’m DOPing a short film in two weeks, it’s a Se7en-esque thriller based on the II World War. I’m shooting with a Red Epic and Zeiss lens.

It’s located mostly in interiors. It’s an old and abandoned hotel with really dark rooms. I’ve some questions about lighting a tiny bedroom. My main aim here is having a strong source outside through a window to give as main freedom as possible to the actors and having more camera framing possibilities. The light has to recreate natural light but I don’t want the beam to be so strong, I just need to give more ambient light inside.

 

The problem goes here: My strongest sources are 2 Tungsten 2K Fresnell (It’s a 3^rd floor so I can only light from another window which is in front the set) and it’s not too much. Inside I will extend the light with some kinos (recreating natural light as well). So the T2 Fresnell will give me 3200ºK but I want a more blueish mood (close to natural light). To achieve that I will have to gel it with FULL CTB this will take me off 64% of light from outside which is a massive loss.

In conclusion, do you guys think is it better to gel the outside sources (which are meant to be strong) and getting less light inside but closer to the light temperature that I want? Or will you match the inside light temperature from kinos to 3200ºK (light temperature from Fresnells) and change the colour temperature then in postproduction?

 

I would appreciate your opinions about it.

 

PS: I know it would be easier with HMI outside as a strong source but for budget reasons I’m unable to get one so I have to survive with the T2.

 

 

Marc

[JD Hartman]

Full CTB on the 2K Tungsten lights is kind of a futile effort. Too much light loss. Maybe 1/2 CTB, Daylight tubes in the Kino(s) and accept a mixed color temperature look? Perhaps do a camera test?

[David Landau]

Change the color temp all in post - unless you want to see a mix of color temperatures. As JD says, you'll lose too much intensity. i would recommend using a hard light bounced into a white card on the floor as well. This gives the natural effect of sunlight coming in and bouncing off the floor. The soft bounce up allows your walls to be brighter at the bottom than the top, which is something we always strive for in creating an illusion of reality. It will also help you "continue" the lighting effect of light coming in from the windows.

Edited June 13, 2015 by David Landau