Greenscreen and the FS700 (5600k or 3200k lighting?)

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vcfilms

Well-known member
Does anyone here know, is it better to light my greenscreen with 5600k or 3200k Tubes with the FS700? Is the FS700 Sensor daylight native like the RED Sensor? I know a lot of people shooting RED always said to light greenscreen with 5600k because there was less noise in the blue channel and gave a better key. Does it matter at all with the FS700? I'm using Kino 4ft x 4 banks. I'll be shooting 4k RAW and Prores 4:2:2 mostly by the way with the 7Q
 
It matters less than on a RED which does not employ hardware gain for WB adjustments and has a particularly noisy blue channel, but if I'm not mistaken pretty much every digital camera out there performs better closer to 5000k. Of course there are a few exceptions but I don't think FS700 is an exception. My understanding is that 5000K represents a more balanced and equal quantity of red and blue light. It may be more complicated than that but I think that's the idea.

I saw Expendables 3 in a theater recently and based primarily on the blue noise in low key scenes guessed that it was shot on RED cameras. Turns out I was right, though I never understood why for such a big film they wouldn't just do a noise reduction pass.

I've never seen such noise in FS700 that wasn't wayy underexposed, and even in candlelight (and whitebalanced as such) the noise doesn't tend to be so blue and chunky as on RED.
 
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how sad it is that you were bored enough to be looking for channel noise...must be a shitty movie!
 
Noah is correct that as a chemical-material property, silicon-based sensors are "blue starved". The higher the Kelvin temperature the better they will perform.
 
Thanks for the responses guys. I am going to go with 5600k tubes for the screen to try to get as clean of an image as I can. I can always swap the tubes if needed :) Excited to see how well the FS700 performs in RAW and Pro Res, should be great for keying!
 
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