Corporate Video Production

John Hudson · September 6th, 2003, 10:33 AM

<<<-- 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.

Dylan Couper · September 6th, 2003, 07:34 PM

<<<-- 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.

John Locke · September 6th, 2003, 08:08 PM

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)?

Bob Zimmerman · September 12th, 2003, 02:37 PM

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?

Jim Quinlan · September 12th, 2003, 07:32 PM

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.

John Locke · September 12th, 2003, 07:39 PM

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

Bob Zimmerman · September 15th, 2003, 11:00 AM

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

Victor Panero · September 15th, 2003, 10:11 PM

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

David Hurdon · September 16th, 2003, 05:48 AM

<<<-- 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

Jim Quinlan · September 16th, 2003, 11:59 AM

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.

September 6th, 2003, 07:34 PM	#17
Dylan Couper Wrangler Join Date: Jun 2002 Location: Vancouver, British Columbia Posts: 8,314	<<<-- 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. __________________ Need to rent camera gear in Vancouver BC? Check me out at camerarentalsvancouver.com

September 6th, 2003, 08:08 PM	#18
John Locke Retired DV Info Net Almunus Join Date: Sep 2001 Location: Austin, TX USA Posts: 2,882	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)? __________________ John Locke SursumFilms.com

September 12th, 2003, 07:32 PM	#20
Jim Quinlan Regular Crew Join Date: Jun 2003 Location: Clearwater, Florida Posts: 177	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. __________________ Jim

September 12th, 2003, 07:39 PM	#21
John Locke Retired DV Info Net Almunus Join Date: Sep 2001 Location: Austin, TX USA Posts: 2,882	Warm Cards has a minus green included in their set also. __________________ John Locke SursumFilms.com

September 15th, 2003, 10:11 PM	#23
Victor Panero Regular Crew Join Date: Aug 2003 Location: Miyazaki, Japan-----> Orange County Posts: 25	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 __________________ "N a k i n a s a i , W a r a i n a s a i..." -Kina Shoukichi, HANA

September 6th, 2003, 10:33 AM	#16
John Hudson Major Player Join Date: Sep 2003 Location: 32° 44' N 117° 10' W Posts: 820	<<<-- 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.

September 12th, 2003, 02:37 PM	#19
Bob Zimmerman Major Player Join Date: Nov 2001 Location: Illinois Posts: 888	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?

September 15th, 2003, 11:00 AM	#22
Bob Zimmerman Major Player Join Date: Nov 2001 Location: Illinois Posts: 888	I looked at the studio1 website and the warmcards website. It seems alot of people use them. Is it work the $90?

September 16th, 2003, 05:48 AM	#24
David Hurdon Major Player Join Date: Nov 2002 Location: Toronto, Canada Posts: 484	<<<-- 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 __________________ Site:http://www.faceliftmarketing.ca Blog:http://www.websitevideo.blogspot.com

September 16th, 2003, 11:59 AM	#25
Jim Quinlan Regular Crew Join Date: Jun 2003 Location: Clearwater, Florida Posts: 177	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. __________________ Jim