color correct to fluorescent
- Thread starter skywalks
- Start date
Cool Lights
DVXuser Sponsor
Maybe someone else will have another answer but here's what comes up for me on this issue.
This is a common problem with differences between different LCDs used during shooting and post and lack of calibration. Heck, audio recording studios even have a similar problem with monitor speakers. You can mix to what you think sounds good in the studio (with its particularly "calibrated" environment), take it outside to your car, play it and it sounds terrible in a real world environment. Many recording engineers learn how to deal with these issues and learn to tweak such that it will sound good everywhere.
Of course, the most common color temp in use in fluorescent commercial lighting is 4200K which is what gives that flattering "pasty" look to all who are lit with it. In addition, nothing looks worse on people than direct overhead lighting shining down from on top. To make matters worse, the tubes used may be low CRI giving the dreaded green spike to your video. Its not uncommon actually for people to seek this look (to some extent) to put you into the realism of the environment.
The issue will no doubt be related to the LCDs you are using (computer and camera) and how accurately they show the video--they may be fooling you. In addition, your HDTV may have some issues as well but is really the "final say" so to speak and you should work to make things look good on it assuming that you are viewing your video on it without strange adjustments in play like saturation or color away from a "flat" setting. This is why in pro environments they use calibrated monitors.
That's not to say though, like in the audio recording studio environment, that once you "monitor" in the real world that you won't have some tweaking to do to make it work best for the real world since this is where it will mostly be viewed. Hope this helps.
This is a common problem with differences between different LCDs used during shooting and post and lack of calibration. Heck, audio recording studios even have a similar problem with monitor speakers. You can mix to what you think sounds good in the studio (with its particularly "calibrated" environment), take it outside to your car, play it and it sounds terrible in a real world environment. Many recording engineers learn how to deal with these issues and learn to tweak such that it will sound good everywhere.
Of course, the most common color temp in use in fluorescent commercial lighting is 4200K which is what gives that flattering "pasty" look to all who are lit with it. In addition, nothing looks worse on people than direct overhead lighting shining down from on top. To make matters worse, the tubes used may be low CRI giving the dreaded green spike to your video. Its not uncommon actually for people to seek this look (to some extent) to put you into the realism of the environment.
The issue will no doubt be related to the LCDs you are using (computer and camera) and how accurately they show the video--they may be fooling you. In addition, your HDTV may have some issues as well but is really the "final say" so to speak and you should work to make things look good on it assuming that you are viewing your video on it without strange adjustments in play like saturation or color away from a "flat" setting. This is why in pro environments they use calibrated monitors.
That's not to say though, like in the audio recording studio environment, that once you "monitor" in the real world that you won't have some tweaking to do to make it work best for the real world since this is where it will mostly be viewed. Hope this helps.
Chris Santucci
Veteran
I'm guessing you don't have the component video plugs in the right component video jacks...
.
.
Cool Lights
DVXuser Sponsor
Good guess but if you mismatch the plugs you get black and white image or no image at all depending upon how you plug them in to which ones.
Chris Santucci
Veteran
I've seen a very green image on a monitor from mismatch of plugs.
.
.
It is very difficult to color correct to basic florescent bulbs because their CRI is so bad. If you look at a spectral analysis of a basic florescent you will see a lone spike in the green region. A bulb with a good CRI will have equally large spikes in the red and blue regions, balancing the green out.
White balancing a camera balances the average of all the target lighting, it can not actually remove or compensate for the spike. Some cameras have a color matrix that tries to remove the green spike, but because the relative output of uncalibrated bulbs varies so much I don't think I'd ever trust it.
I'm going to do an indoor shoot and I'm planning on replacing all the practical bulbs with bulbs from fullspectrumsolutions.com. It will cost about $750, but they match the lighting from coollights very well, and the finished product must look right...
Bob
White balancing a camera balances the average of all the target lighting, it can not actually remove or compensate for the spike. Some cameras have a color matrix that tries to remove the green spike, but because the relative output of uncalibrated bulbs varies so much I don't think I'd ever trust it.
I'm going to do an indoor shoot and I'm planning on replacing all the practical bulbs with bulbs from fullspectrumsolutions.com. It will cost about $750, but they match the lighting from coollights very well, and the finished product must look right...
Bob