John M Posted June 18, 2012 Share Posted June 18, 2012 I'm shooting a very low budget small project on DSLR this weekend. One scene is in the middle of the day with sunlight pouring through the kitchen windows, and there are tungsten practicals hanging from the ceiling. We do have some reflectors as I'm concerned about some shadow cast on faces. I do have a 6000K or close to that lED ring light I built and mounted on front of a matte box. I'd just like to know how best to deal with a mixed light source. Gelling the windows is not an option. A filter on the lens would either make one of the light sources to orange or to blue. Am I best just to try and avoid one of the light sources all together? Is there something I should do different when white balancing? Link to comment Share on other sites More sharing options...
Travis Gray Posted June 18, 2012 Share Posted June 18, 2012 I'm shooting a very low budget small project on DSLR this weekend. One scene is in the middle of the day with sunlight pouring through the kitchen windows, and there are tungsten practicals hanging from the ceiling. We do have some reflectors as I'm concerned about some shadow cast on faces. I do have a 6000K or close to that lED ring light I built and mounted on front of a matte box. I'd just like to know how best to deal with a mixed light source. Gelling the windows is not an option. A filter on the lens would either make one of the light sources to orange or to blue. Am I best just to try and avoid one of the light sources all together? Is there something I should do different when white balancing? Are they actually tungsten fixtures, or are they regular bulbs that you might be able to go out and get those daylight bulbs and swap them out for to get closer to the right temp? Or can you gel the practicals? Less gelling than a window. Or frame it so that use different colors to enhance the frame somehow. Those are my thoughts. Link to comment Share on other sites More sharing options...
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