Steve Lowry

Thanks everyone, I took all that you said into account and asked a lecturer just to clarify, I ended up ordering 200T. Originally I was thinking off 500, or 250D and balancing it, but I can see now that that would have been plain crazy. I have literally no budget, so replacing the bulbs wouldn't be an option. I do have two large keno-flows at my disposal though so they will take out the stink from the fluoro's. I was largely worried that the green hue might detract from the contrast when I desaturate it (MC) but Iv been assured that I'm over stressing. Also, just on a side note: does you have any essential reading for cinematography based primarily on stock rather than digital? Do you have any "go-to" books or site for in depth application of lighting set ups? My main area so far has been classic noir and some of the more popular expressionism. I'd like to progress, though I do like the grandeur produced with such minimalist techniques, also how each light source is absolutely essential. Thanks for your time, I hope I haven't been wasting it. P.S. all of my recce stills are in Raw format, so once I resize them I could put some up

Hi, Sorry, this is my first post. Im about to start filming my first year graduation piece and I'm not sure what stock I need to order. It will have a mix of interior hallways (a school's corridors with low angled lighting entering through doorways) and early morning exterior, 9/10a.m. (note that I am in Ireland so it is generally over cast) The school is lit with those fluorescent ceilng tubes which, I know give a green tint to skin tones. -This is my big issue, I am desaturating it in post production and I need to know if this greenish tone on the skin will affect the contrast on the characters' faces etc.? -Will my additional lighting clash with the fluorescent? -What gels/filters are applicable? -Also, of course: 250T or D? -And do I lose a lot of speed by balancing the existing flourescent lights with my stock.