HVX CSI:MIAMI style

[Spartacus]

I´m trying to emulate the warm and rich colors look of CSI:MIAMI with the HVX for my next project and am a little unsure how to approach this.
It´s an indoors in a basement shot, probably all lit by practicals, but with a lowkey final look.
Actually I don't watch CSI, I only remember it from zapping through the channels and this Caruso guy having a sunny face all the time.
I wonder if the colorful look is achieved by geled lights, choose of stock (daylight for indoors...?) or CC - probably everything...?
I will have flo equipped practicals as the main light source (key = neon at the ceiling) and they will be in frame.
However, when I used fluos as practicals so far, they were always white or blueish/greenish, opted for a cold, clean, dead look - may they also look warm?
I also want the shadows to be greenish or maybe really green, as in many R`n B music vids in the last years.
The space really is confined, so I don´t think I can use green geled tungstens from off frame.
I´m also not sure yet if I can paint the walls, set design and controlling colors in the picture is a big issue for me in other projects.
And: should I maybe tweak the colors in the HVX or use a "wrong" white balance...?
Would you overlight for the HVX, because of certain noise issues...?
Any suggestions appreciated!

[for_mlove]

I think Warm cards might be PART of your solution. You can pick them up for about $50 or you can get some paper with different bluish hues and experiment with it a bit. The HVX has some ability to do that built in as well. Go in and tinker with the "color temp" and what not to find a look you like. I would also think that some of that look comes in post too.

[peter orland]

I´m trying to emulate the warm and rich colors look of CSI:MIAMI ...I also want the shadows to be greenish or maybe really green, as in many R`n B music vids in the last years.


I would suggest not to use the standard fleuro's as their colour spectrum will infiltrate all of the other light sources and make it hard if you do choose to colour correct. Sometimes gelling the lights can be too extreme so maybe try to bounce some small lights (dedo's or similar) off of coloured reflectors.



set design and controlling colors in the picture is a big issue for me in other projects.


I think most of your answer lies in that statement. If you don't have access to a high end post (power window style colour correction) then get it as close as possible on set.



(key = neon at the ceiling) and they will be in frame.


You have a Neon light on the ceiling of an interior?

[Spartacus]

You have a Neon light on the ceiling of an interior?

Yes, there will be a single lamp with one fluorescent tube inside hanging from the ceiling, like over pool or poker tables...
not a Laqs Vegas style neon sign of course...;o)
I will use full spectrum fluo tubes, not the original kinos, but without green spikes and color proof.
Maybe my main concern is having a warm look while using fluos in frame - most of the time considered to produce a cold, sterile and unhealthy light.

[Justin Marx]

Get these warm cards plus the extra two.. goto www.warmcards.com (http://www.warmcards.com) They will save your but.. They work like a charm..

To get the greenish tinge out from the flo's, use the minus green that comes in the kit..

Mixing light sources like you are will be a challange, especially with unbalanced flo's.. What you need to do is tell the camera what "you" think white is, and it will do it's magic..
I know the Miami loader for CSI Miami, and he says they usually shoot clean and let the post house play with the Color Correction.. They have more control with a "clean" image, rather than one thats saturated with orange..

you should get youself some 1/2 CTO GEL (color temp orange) for your flo's, and see if that helps.

I'm not sure about your green shadows.. Your basically messing with the color spectrum here.. you have green in the flo's but want to take it away as to not over saturate, yet you want green and warm? hmmm


maybe you can explain more?

- - Justin

[akuepper]

Just a word of advice. I used a 1/2 blue card during some test- it looked great, the producer and director were impresses.

Later, on another day we did a makeup test. I didn't have my warm cards so I balanced on a blue shirt. This dialed the red way to high. Later in a posting test I cropped the red channel big time which really killed my sharpness.

My point- dont go to crazy with the cards or you might lose some data later. Shoot straight and let a colorist give you the look you want.


My only concern is on set- instead of looking at a "white" or "bluer" image live, I'm thinking of cranking the monitor a little warmer to give a "preview" of the finished product.

[Erik Olson]

Not suggesting this for your particular situation, but for quick "sunsets" you can balance off the sky in many instances. It will color everything in the scene but it is very difficult from a continuity standpoint if you have a great deal of shooting to do.

For your situation, I'd color balance un-gelled and then add a 1/8 CTO or 1/4 CTO (max) on the character key only and I think you'll like the results better.

e

[erdiaz]

Hi there, this may help you, from my experience, I use to white balance with pale pink or lavender or clear magenta cards with fluos and after some tests any of these combinations give the image I want... I try to get the most "normal" temp and color image possible and give the color I want in post later (some times with magic bullet, a wonderfull but slow tool); so my advise is : get the most normal and manage it later in post, it is more easy to achieve your goal.


:)