<<<-- Originally posted by Dylan Couper : Gel off all the overhead flourescents to correct their colour -->>>

I am new, so forgive my questions.

When shooting with the Canon XL1s, are you saying, it is needed that we gel off flourescents for correction? What about lens filters?

I know with FILM STOCK, it is needed, but I didn't know with DV also. Can you elaborate? I'm learning.

<<<-- Originally posted by John Hudson : <<<-- Originally posted by Dylan Couper : Gel off all the overhead flourescents to correct their colour -->>>

I am new, so forgive my questions.

When shooting with the Canon XL1s, are you saying, it is needed that we gel off flourescents for correction? What about lens filters?

-->>>

You are pretty much right on. If you are lighting a room with one type of lights, and there is another type of lights there, it's preferable to gel one set so that the colour temperatures match.
Whether you are lighting with flourescents and there is natural daylight, or you are lighting with HMIs and there are incandescent bulbs, you should gel one to match the other. In office buildings, it's often not an option to turn off the overhead flourescents, so you can gel them to match your lights. Then you white balance to your now balanced lights.

Lens filters don't fix this problem, because the filter would affect all the light coming in equally and not fix the problem.

Adam,

Click here to go to the Hillman Curtis site, then click the "Greenwich Street Project" link. That's a nice example of lighting for office interviews, and it escapes the sterile overhead fluorescent look.

As for the pro fluorescents, the bulbs they include don't flicker and are balanced at either 3200°K or 5600°K...so if you're intending them to match the existing regular fluroescents, that won't happen.

I like the Hillman Curtis example a lot. I'd be interested to hear some people with more lighting experience than me explain exactly how that's setup. Obviously, they've white-balanced for tungsten...therefore, they'd have to gel the windows in the back. What about the lighting setup, though? Any ideas? Can it be just one light as it appears to be (in addition to the small desk lamps)?

But if you just wanted to use a filter. If it was going to be a quick shot. No time to set up lights what is the best filter to use?

The other day, I shot some corporate video in a large office with all florescent lighting.

I used a white balance card set I purchased from http://www.studio1store.com that had a "minus green" card. Using that card in florescent lighting seemed to make quite a difference in these conditions.

Warm Cards has a minus green included in their set also.

I looked at the studio1 website and the warmcards website. It seems alot of people use them. Is it work the $90?

In regards to lighting for interview-setups, several threads have mentioned Walter Graff's site which I found extremely helpful.

http://www.film-and-video.com/index2.htm#Hellgate%20Pictures%20Homepage.html

<<<-- Originally posted by John Locke : Adam,

Can it be just one light as it appears to be (in addition to the small desk lamps? -->>>

I don\'t have direct experience to contribute but I did ask a pro about a Ken Burns interview that looks much like this piece and he said it was lit with one big softbox.

David Hurdon

The warm card set is the one I got with the minus green.

Is it worth $90 ? That was a question I tangled with for a month or so before shelling out the dollars. I loaded my presets with white and warm or minus green and flipped back and forth to compare. It seemed to make a big difference to me even though I\'m relatively inexperienced in this area.