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Lighting for BMPCC Daylight to Tungsten

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  • Lighting for BMPCC Daylight to Tungsten

    I am doing a short on the BMPCC this weekend, and I have an interesting challenge.

    One of the shots involves a news reporter on a TV screen (night interior). I plan to do it practically, actually film the TV, as the shot will be at a low angle with a coffee table and glasses in the foreground, and I want natural reflections of the TV in the foreground. I will adjust TV and camera settings to be sure there is no flicker, however, white balance is my main concern. On some flat screen HDTVs I have been able to adjust white balance to match tungsten lighting, however, the TV for this film cannot do that. So my thought was, balance the camera to the TV (~6000-6500k, I'll be shooting RAW) change out practical fixtures with daylight flo bulbs (the bulbs I have are 5000k, which would provide a little warmth as if tungsten) and then use daylight LEDs for the rest of the lighting (I have dracast and Kino LEDs available).

    Any thoughts on if this plan will work and look natural? I think the other advantage is that the BMPCC tends to be better with noise and colour at daylight than tungsten, but I want to be sure the result LOOKS like tungsten.

  • #2
    My suggestion would be simply to color correct the footage that you intend to display on the TV. Shift the color temperature as much as necessary to produce the desired result.

    If the TV will be connected to a computer, you could also use f.lux to shift the color temperature.
    Last edited by Otaku+; 02-21-2017, 04:29 PM.


    • #3
      Good plan Connor, go for it. BMPCC loves daylight and hates tungsten light hitting it' sensor. Results will be much better when dialing it down from daylight to tungsten in post.


      • #4
        You can put a filter over the entire TV screen pretty easily. You'd have to perhaps test a bit but it likely won't take to much. Just tape to the edges of the screen. Don't think you'd ever know it was there. The reason not to correct on post and I'm assuming that you isolate the correction to the screen itself, is that the light it casts will always be wrong. It will forever seem as somethings not right as would be the case.


        • #5
          Isn't colour temp / white balance setting in camera when shooting RAW only metadata?

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          • #6
            Originally posted by Tomas Stacewicz View Post
            Isn't colour temp / white balance setting in camera when shooting RAW only metadata?
            It is, but the problem the OP is trying to work around is having light sources of different Kelvin value in the scene. If you get light sources with widely divergent Kelvin color values (orange-y Tungsten at 2800 vs blue-ish daylight at 5600) then the scene becomes difficult (if not impossible) to unify into a single color vibe because you have blue lights and orange lights mixed. This is true regardless of the WB setting in the camera. Now it's entirely valid to use mixed kelvin value lights as sources in your scene - IF that's a specific warm/cool look you're after. But for a unified look it's best to have all your lights share similar kelvin values.


            • #7
              Well, we totally changed the direction we took the scene and decided to motivate light from the TV, and do blue screen for the TV itself due to problems with the material that was to be played on screen. In any case, here is what we shot, with mixed colours. We used two practicals with 72w halogen bulbs, and then a Kino Diva-lite LED 20 at daylight with a blue hue bias, the gaffer rode the dimmer for flicker. We also put a large 4x4 black solid horizontal over/in front of the screen to keep the light from bouncing on the ceiling and all around the room... here are stills in case anyone is interested. Definitely pushed the underexposure limit of the BMPCC, but it's supposed to be a dark scene.

              BMPCC RAW
              Zeiss S16 Superspeeds @~ T1.8

              Sc4 Adam CU.jpg
              Sc4 Adam.jpg


              • #8
                Thanks a lot to share a crucial idea .


                • #9
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