tricky office scene

I'm really getting to where I can spot color temps pretty good. If its 3500K, as I guessed before, you have to balance to around tungsten if you want everything white. Balancing to daylight will give a very warm color cast as in your picture. By the way, the "7" in that means the CRI is in the 70's so there could be some issues in mixing with other light. I'd stick to all the same bulbs, custom white balance and it should be fine. The minute you mix in some other kind of light other than those bulbs, you may have some green spike issues.
 
my take on it would be either just use kino's and china balls. are you going to see the light fixtures on the ceiling because if not you can gel all the florescent that in the shot at the time with minus green gels and you will still get that icky flat office feel but without the nasty green color normal florescents give other then that if your paying for this location and have a decent size crew just switch the florescent bulbs in the ceiling with kino bulbs if they are the same mount. best of luck and post footage when your done.
 
Hmm...Gelling the entire office would be so much effort. I'm sure he's running low crew/budget wise too. I think there's a simpler solution.

You just have to find a gel pack for your tungsten and fluoro fixtures that matches the overhead fluoros. Since it's 3500k you can try with a little bit of blue and maybe some green.

http://hd-cinema.blogspot.com/2009/02/light-loss-and-mired-shift-values-for.html

This should help a little bit.

So it looks like for your kino's you'll have to put maybe a 1/4 and an 1/8th on them if they are 2900k to get them to the 3500 range. However, it might be a better idea for you to go with the daylight bulbs instead and then gel them down to 3500. Might not be a bad idea to see what gives you more light...

As far as your tunsten lights go, you're going to need 1/4 blue on those to get them to be 3500.

I would then experiment on set with some green on one of your lights to get it to match the overheads. Or better yet, research those bulbs and see if the manufacturer gives you anything to work with. Once you get things all the same, you're golden.

Good luck.

Edit: I just looked at those bulbs and if the mantinence guys will give you a few extra to pop in your kinos...I would definitely go for that. That would get rid of all this silly gelling. I haven't tried that before, but I mean...I know you can put kino bulbs in some ceiling fixtures so I don't see it being much different.
 
ya you are right it would take a little bit of time. are you shooting digital or film because if your shooting film just make your lights match the overhead florescents and then they can time the green out and you will have nice office footage without the green tint ive done this before its easy and will eliminate the gelling factor. other then that i would just switch out bulbss like RYANT was saying
 
You can time out colors in video just like you can with film. It's no different. The only thing that may be different is you can probably just do a custom white balance and get rid of it before it even hits your media.
 
haha ya i didnt think of that u are correct, so either way he should be good hes has many options on how to defeat his situation good stuff guys, and i would love to see dailies when your done. :)
 
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