over exposure in shots

Sorry I should have said a warming filter in post or on-camera via filter... because really the results would be the same. But I personally am not a fan of baking in drastic looks in camera. It is just too risky if screwed up - even if you have "experience".

Where colours are mixed, you can try balancing more towards the cool side ie. 4400k to 5000k then use tungsten on faces, CTB everywhere else and when you add the warming filter in-camera or in post it will keep the CTB looking blueish, and keep the tungsten looking warm.

For other shots, it could be as simple as gelling one light yellow and the other blue, as seen in the shot where the man is running between those two large tanks.

I'm really just guessing here, best thing to do is try it. You can also stick warming gels over the lens of your camera for testing purposes and play with your white balance. Sooner or later you will see what kind of look you can really dial in.

I'm also a big fan of using coloured LED lights out of frame to really cheat it. You can get colours like yellow and blue quite easily... or just use white ones and create your own tube from gels to put them inside of. You can tape gels around florescent bulbs.... you can..... . . .
 
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In this movie, if there is a shot with the sunlight and tungsten lights together it would be like this:
If the sun is very bright and lighting most of the area, the sunlight would be almost the same colour as the tungsten lights. (Both yellow) - But depending on scene

But if there was a tungsten light that was lighting most of the area, and there was a sun beam in the BG, then it would be slightly bluer in colour - But not THAT big of a difference. Just enough to tell the two apart.

If you look carefully at the left side of this picture, you will see a Source 4 (im pretty sure) lighting most of the space with a yellowish colour.
Source 4.jpg

Well, if it is a tungsten light they are using to create the yellow, that means that the colour temperature on camera was set to around daylight so the light would appear more orange. The light behind the actors would be daylight balanced appearing now white.
BUT, if the light isnt gelled with a yellow (straw) gel, is it possible to change just that orange colour to a yellow colour in post without effecting the other colours?

Lighting with tungsten and then changing it in post to a yellow would make things easier than having to figure out how to light and gelling.

My Theory:
- Always shoot daylight (Approx 4,800K - 5,000K)
*Daylight that is yellow is faked with tungsten / CTO on HMI / Gelled CTO window

- Yellow colours are tungsten light (in post changed from orange to yellow)
- Bulbs/lights are kept as is an never gelled to remain orange

- Blue lights are HMI lights or HMI's with a 1/4 or 1/2 CTB to make it bluer
- Blue light can also be Tungsten light with a lot of CTB gel.

- Cyan light is HMI's with cyan gel
- Cyan light is Tungsten with CTB & Cyan*


*If im shooting with a daylight balanced light, and I want a cyan colour, doesnt that mean I need to add the cyan gel to a daylight balanced light?
Wont it be off looking if the cyan is added to a tungsten instead? Thats why I thought id have to gel the HMIs only or gel the tungsten lights to be daylight and then gel it to a cyan colour.
 
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If you want cyan, you would add that gel to whatever light your camera color temperature is matched to.

So...

HMI + cyan = camera balanced to +5000k.
Tungsten + cyan = camera balanced to 3200k.
Tungsten + CTB + cyan = camera balanced to +5000k

Just remember CTB cuts a lot of output from your light as opposed to using CTO and balancing to 3200k.

I can't recall ever getting yellow (as shown in that shot) just by shifting the white balance of the camera away from tungsten, so it has to be gels on-set, or something done in post. I bought a bunch of Lee filters in hopes of one day experimenting to get that "high pressure sodium vapour" orangey/yellow look, but never quite got around to it.

When is your shoot scheduled for? Better start testing! (and do share some results)
 
starcentral said:
If you want cyan, you would add that gel to whatever light your camera color temperature is matched to.

So...

HMI + cyan = camera balanced to +5000k.
Tungsten + cyan = camera balanced to 3200k.
Tungsten + CTB + cyan = camera balanced to +5000k

When is your shoot scheduled for? Better start testing! (and do share some results)
Click to expand...
Okay, so I was right. I will have to add CTB if i am on 5000K. thanks.

Its not scheduled for sure yet, but it will be sometime in November. So, it is very soon :S

So, if I shoot in daylight then Id need more powerful Tungsten light as id need to gel them to a daylight colour and then gel them to the colour I want (cyan, green, or yellow) Problem is, this will cause a lot of light loss.

If shooting tungsten, Id need to gel every light fixture in the room with yellow (straw) get so that it is not a white light. Then for the light beams, that can just be an HMI with about 1/2 CTO so is not a strong blue.
 
Where you need ample lighting I would stick with hmi's due their power and fact they are already daylight balanced.

If you don't have access to all the lights until the shoot, go buy some floruecent bulbs from home depot and experiment. You can buy 3200 and 5600 and with some gels come up with the look you want.

Post your results. Would be great for future reference.
 
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Michael Carter said:
Y'know what's rarely discussed when people talk about the "blown out" look? Diffusion on the lens. I see that look a lot, which tends to exaggerate highlights. And it's tough to mimic in post.

Most of "Iron Man" was shot with a 1/8 ProMist but most people do not think of that as a diffused movie, yet the filter effect is visible.
Click to expand...

I've been wondering about the effects of this filter.
Looking at before/after its either too hard to tell the difference with it or the image looks very soft/flat and unpleasant. So, its hard to tell how it really looks.
 
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