What if I prefer daylight color temperature?

J

JaredSMark

Active member
Is it too wild of an idea to use daylight temperature in a controlled environment? I'm talking using daylight color temperature at night, or in a studio for all of your lights either via CTB gels or HMIs. I've done a little experimenting and daylight temperature just looks a bit better to my eyes. I like the more white/clear/blue type look that I get from it.

I'm most likely going to take this route in any case since it's just looking more of my style but wanted to see what you thought.
 
Do whatever suits the aesthetic you want to achieve. They're pictures, there's no right or wrong with them, only choices (which then either work or they don't).
 
Digital camera sensors like daylight better too. Perhaps that has something to do with your positive results.
 
Pictures? Shooting video here.

www.youtube.com/watch?v=TpEC84e9SpA - you see the hair light on this? And on his shoulders? That definitely doesn't look like tungsten. Would I be correct to assume that he's got a gel on that light, or maybe it's an HMI? It has a white/blue/green type look to it. I like that.
 
All video imagers that are silicon made are naturally balanced to 5600K as I understand it. So this means that when you light your scene at 3200K the camera needs to add gain to the blue channel which introduces noise off course. BUT the newer cameras that we use today have so little noise that this really is a mute point.

If you white balance you shouldn't see any differences regarding colour or anything. Only image noise...
 
gonzo_entertainment said:
If nothing else, it just tends to be the more expensive route as HMIs are pricer and gelling Tungsten ups the wattage requirements.
Click to expand...

Kino Flos are a cost effective alternative to HMIs because they can use either 3200K or 5500K tubes. When using 5500K tubes to light for a DSLR’s 5000K native color balance, you don’t lose output to CTB gels the way you would color correcting a tungsten 1k. And if you want to warm up their output, you simply throw some 3200K tubes in them so you don’t lose output to CTO gel either. The drawback to using florescent light fixtures is that they generally have a very broad soft light output that drops off rapidly which means the units need to be positioned close to the subject they are lighting. This characteristic makes them better suited to lighting documentary interviews than dramatic scenes. The one exception to that rule is the Kino Flo ParaBeam fixtures.

The Kino Flo ParaBeam fixtures use computer aided designed (CAD) parabolic reflectors that focus the light output at about 16 feet (5 meters). This feature makes the Kino Flo ParaBeams well suited for HD Digital Cinema, because it doubles the light output of the lamps where it is needed most for lighting dramatic scenes - at a medium distance. Compared to the Kino Flo Diva-Lite, which uses the same four 55 Watt compact lamps and the same ballast, the ParaBeam 400 is twice as bright at 12' – making them a better key source for lighting dramatic scenes. They put out more Foot Candles than does a Tungsten 1k after color correction and use one quarter of the power so you can run them on battery/inverter packs or small generators. And they cost a fraction of what HMIs cost to buy or rent.


Josh “Doing more with Less” White
 
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