Jump to content

Search the Community

Showing results for tags 'gels'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • Cinematography Forums
    • General Discussion
    • Cinematography News
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





My Gear


Found 16 results

  1. Hey everyone! I'm looking to light an exterior night scene in the woods, and really want that unrealistic powerful back moonlight look. All of my actors will be keyed by their own lanterns, but I just want to have that moonlight in addition. I came across this scene from Stranger Things season one, shot by Tim Ives, that really resembles the look I'm going for. My question is, does anyone know how this scene was actually lit? I can't tell if it's a single soft source or several sources, and how the characters are not backlit but the fog behind them is. Also, if anyone knows how they would have achieved this color, that almost bluish green look, what kind of gels over what kind of lights. I would greatly appreciate any input on this! Thanks guys!
  2. Would limiting myself to using only the 9 or 10 Storaro gels from Rosco be a reasonable creative strategy for maximizing visual impact while streamlining the decision process? (With the exception of CTB, CTO, and CTS, of course). Are his colors versatile enough to tell every kind of story, convey every emotion? Why? I’m exhausted. Between Lee, Rosco, Apollo, and GAM there are thousands of gel colors available. But I’m old as old can be and don’t have time to learn the nuances of so many options before I’m dead. Plus, Vittorio is a much greater genius than most of us...
  3. Anybody happen to know if the cool blue moonlight looking ambient light in this scene was done through gels? If so, which gel do you reckon it might be? Arrival-Bradford Young https://fancaps.net/movies/Image.php?name=Arrival_Screenshot_112&imageid=2493209
  4. Hi everyone, I'm a long time reader and a first time poster and student. I'll be shooting a shooting a short film in about two months from now which calls for "a bar lit with neon signs". Think of the Bud Light and Heineken signs many bars have as reference. Obviously we won't be able to use any brand signs because of legal issues but I've been thinking of several alternative ways to achieve the same mood. Also real neon signs are expensive and a serious safety hazard. Also keep in mind that the bar will be filled with fog similar to heavy tobacco smoke you see in many movies. The director wants to have neon looking practicals as much as possible. I have two 4 foot quasar LEDs that could potentially be gelled and placed around the background but I feel as if only two tubes wouldn't be enough. 1) Has anyone had any experience shooting and sleeving (hard coloured tubes that fit snugly around the bulb) cheap fluorescent units? Do they have a chance of flickering? What about noise? Is there a way of powering them with unaltered wall power or do they require a ballast? If so can they be powered in a way that wouldn't require a housing frame around them? 2) Has anyone had experience with cheap neon LED signs? They basically look like neon signs without actually being neon? I'm afraid of cheap LED units because of potential flickering. https://www.amazon.com/Wedding-Suppliers-Operated-Lighting-Valentines/dp/B075MXR77D/ref=sr_1_7?s=lawn-garden&ie=UTF8&qid=1524627473&sr=1-7&keywords=neon+sign 3) This piggybacks off the last one. Has anyone had good experiences with colour shifting LED stripes or ropes? https://www.amazon.com/NEON-110-120V-Waterproof-Controller-Decoration/dp/B01JZ754SG 4) I have tungsten lights ranging from 250W to a 2k baby and a set of 2 4' Kinos (tungsten and daylight) at my disposal as well. I'd be using the previous the push the lights. Are there any particular theatrical gels that you have found similar to the hue of neon lights? Green, blue, red, pink etc. Thank you for reading and also thank you in advance for answering!
  5. hello lighting gurus , I'm shooting a musical in a restaurant that has a bunch of overhead fixtures and we're going to include these fixtures into some of our shots...each fixtures can be best described as a three socketed bulb cluster that's been packed with CFLs and one inverted paper umbrella ( with a slight yellow tint ) that diffuses the throw....the insets are painted blue/green and they affect the bounce to a degree.... I want to shoot a "sodium vapor" source through the windows on the right , the windows will be diffused...I'm thinking of playing regular tungsten on the floor, like shooting through silks with open faces or kings bulbed at 3200 etc. and scenes all take place at night... I want to be able to use these overheads as they are..meaning fluorescent , to achieve that blue/ green type of hair light ( picture 1 )...but since we have a lot of musical queues we have to be able to dim the overheads up or down depending on the scenes' requirements...so I don't think I can keep the CFLs in there because I can't dim those...instead I'm thinking of replacing them all with tungsten and gel them to match fluorescent , what's your best advice for this....am I on the right thinking path ? I've included two pictures...one is the restaurant and the other is an inspiration for the colour pallet I'm after....although I have to say that in the portrait shot here the blue green is a little too heavy handed ...I want to go for a much more subtle version , meaning that there is less blue-green One last note; we're going to have a lot of wide shots , director loves to see the ceiling and drilling base plates into these ceilings is out of question... thank you!!
  6. Hello, I'm working as a gaffer for a student film this January. The story is a drama/thriller that follows a man who dies and becomes trapped in a sort of limbo state of being. It's dark. It's fantasy. Our budget is very modest, but I'm very interested in using half hampshire on the windows for all day interior scenes - I love the blur it gives. However, those scenes make up only 30% of the film and the rest is night interiors. I'm wondering, can hampshire be used on windows at night to any great effect? I've looked into using dirty water and a spray bottle, but I imagine it will lack what the hampshire will deliver. Any advice is appreciated. Thanks, Jesse
  7. How do you store your gels? I spent some time searching and came up with nil here on the forums. The reason I am asking is because I am going from set to set, seeing various gels and filters being thrown in a tall trashbin or tub or something of the like, lacking any organization and efficiency. I am still fairly inexperienced and low-budget, and don't have means of a storage facility nor the luxury of storing them on frames. I'm beginning to grow my collection, from smaller rolled up 4x4 sheets to actual full rolls, and as they are fairly expensive, yet still expendable, I can't come up with a reasonable way to store them, thought I have many ideas. Maybe you guys can help me get a better idea or a good recommendation of what to do. One idea that I have had is to actually have a large PVC tube, and strap full rolls inside and lock them with a twisted cap, and roll smaller sheets on the outside and fix them to the tube with a mixture of a PVC sheet or bit of tarp covering them, and a bongo-tie securing system. Labeling will be a breeze, and visually finding them will be a lot easier. I imagine this could be nice and safe for the gels and filters, yet if I have too many of these, the weight will become ridiculous. Any tips and ideas are appreciated, thanks!
  8. I was wondering how is it that these gels came to be? When did Rosco decide to ask Storaro to create them? And why did Storaro choose precisely these ten colours? How much has Storaro himself used the gels? Are there any particular instances of striking use of one or several of these gels? https://www.rosco.com/filters/cinegel.cfm?CategoryID=5
  9. Hi everyone, I am a student currently writing about diffusion filters in a short research topic for my BA course. I was wondering if anyone could think of any topics extra I could cover or speak about in more depth. So far Ive spoken about: basic introduction to difference between soft and hard light the various diffusion gels available, EG Frosts, Silks, White diffusions and Grid clothes etc. the results of these gels the effects of strong vs weak diffusion on the tone of a model The visible transmission and light absorption of diffusion gels The effects of increasing and decreasing the gel position in relation to the light and model The pros and cons of Heat resistant vs non heat resistant gels how strong diffusion can be used to combine multiple light sources and some difference in quality between brands What else can I talk about? Thanks Matt
  10. Folks, I have a practical location where one of the key story elements is a window in a living room. Since we're in Southern California I need to gel the window so it doesn't go "nuclear" while we're shooting. What is the best way to apply a sheet of ND gel to the window? The assumption is that we'll start with a Lee ND/0.9 4' gel sheet because that's what we think we can get inexpensively. If there are better/easier/cheaper options I'd love to hear about them. Using "big" lights isn't an option for budgetary and crew experience reasons. The house is a 1940's style rambler with "old" electrical circuits, so I'm very power limited right off the bat. Thanks in advance, Stuart ---------------------------- illuma.blogspot.com
  11. I lit a music video last week, and one of the setups called for lighting as if it was 'twilight'. I knew just using CTB to get the blue light of twilight wouldn't work, so I did some research and ended up buying some Lee Filters 161 Slate Blue. I used Slate Blue on some HMIs, and softened and diffused the light as much as possible to get the soft blue light that you see just after sunset. I was quite happy with the outcome, but it wasn't really the kind of blue I was after. I was wondering if anyone else has had experience using special colour gels to light for twilight? What kind of setups did you use? With the power of grading nowadays, is it easier to just fix the colour in post? I guess it's an interesting debate, but I do like to get what I want in camera, so that minimal things have to be changed in post. More about the shoot on my blog.
  12. I'm gaffering on a short film this week, and had a basic selection of gels to chose from for the shoot from our university. I've got the standard CTB/CTO gels to use on our lights. I was looking for some CTS (Straw) to use on tungsten units as morning sunlight, however for some reason all I could get was No Colour Straw (Rosco #804). It seems to still produce a nice light with a slight yellow tint, which suits a morning sunrise. I was wondering what the different between normal Straw gel, and No Colour Straw gel is? I bet it's so minimal, but it would be good to know!
  13. Starting a feature this week and the director wants a very "yellow springtime" look to our lighting. Mostly the highlights. Attached is a photo and isn't the best because the female is blonde as is probably natural backlight but this is the the rough tone. So my question is: to get that warm almost sunset color without getting too red/orange, has anybody played with more yellow color correction on daylight lit scenes? So on our HMI's instead of adding CTS or CTO for a little end of day glow playing more with yellows. I've but aside (from LEE) 100 Spring Yellow 767 Oklahoma Yellow 101 Yellow 102 Light Amber 104 Deep Amber Has anybody played with these colors on bigger sources? (18kHMI / 6kHMI) I like the look of 100 Spring Yellow but am afraid will start to feel green when blasting with a big unit.
  14. hello everybody, as am about to shoot a commercial in paris, featuring indian models, i was wondering if you guys wanted to share ideas on which gels to use to enhance the skintones for the beauty shots. these are the models: http://inega.in/v2/models/male/manu/ http://inega.in/v2/models/female/ana/ thanks a lot
  15. Hey all, I've been itching to find a good solution for easy transportation of my gels, and keeping them organized by color and strength. I was leaning torward precutting the gels into squares (the biggest light we have in house in an Arri 1k, so I would cut to those dimensions), and having them in thick book, and then I could put dividers in for the names. Right now I've got them rolled up in a bag then don't completely fit into, and there's no quick reference for the strength of which gel. Let me know if this is a dumb idea and/or if there's better, more professional solutions. Thanks!
  16. When adding a flavor of color theatrical gel what is the best practice when being cautious of white balance? Ex. Say I'm using an odd HMI lamp as the key and it's reading 5400K via a sekonic c-500 meter. The desired White Balance is... lets say 3200. My pCam app says the the mired shift is 127. I toss a Rosco 3401 Sun 85 gel or perhaps a 3/4 CTO gel to get me mostly there (either gel is rated at 131 mired) Great... but now the art director/dp/client/boss says they want the light to be green...? Do I then add a green filter on top of that... ...or do a magic trick w/ thinking of green as being somewhere around 4500K and use just one gel to accomplish the shift from 5400K. Using just one gel I imagine should reduce light loss. So once again back at the pCam app and it says the mired shift from 5400 to 4500K is 37... ...so am I right in thinking i should just throw on a 1/4 CTO? If so, how do I control the density of the green - add/sub green gels? What about if they say they want the color to be purple, red or even yellow? If there is a common consensus in terms of methodology, please let me know. I'd prefer not re-invent the wheel or get dumb looks from crew. It's very possible this may have already been explained to me in a lecture, but my taxed brain was overloaded. I am by no means a pro (I'm a part-time film student working a full time day job). Thank you for taking the time to read all of this. I recently made a scene remake from Blade Runner using the school's only HMI light graciously received as a donation from DTC w/ mixed tungsten lamps and got a bit of a headache trying wrap my brains around gels for both correction and color: http://vimeo.com/nextbooth/blade
  • Create New...