3200K vs 5600K

[Ernesto Salvador]

Scary?? it´s great!!! anybody with a camera and a computer can do real stuff now.... wait a minute.... it is scary!!! :w00t:

 

[Lee Dashiell]

Scary?? it´s great!!! anybody with a camera and a computer can do real stuff now.... wait a minute.... it is scary!!! :w00t:

lol......I don't think so.

What's scary is some of the gear being used on some of these shoots. And to be honest, I have seen a bunch of shots and clips that have been shot on the RED that need some serious lighting help. The shoplight from Home Depot looks very much like a shoplight from Home Depot. Sorry about that.

 

[Gregor Hagey]

Red loves Tungsten light

Red loves Tungsten light

It's important to remember that Daylight film stock has tighter grain or less 'noise' then it's Tungsten counterpart, but it's very rare to shoot interiors (or night exteriors for that matter) with Daylight stock. I think the benefits of always trying to shoot under daylight colour balance is being grossly overstated. I shoot under Tungsten light all the time and the footage always turns out great. Instead of blowing your budget on HMIs and Kinos all the time, don't be afraid to rent Tungsten fixtures so you have some money for other important components of production value like a dolly, crane, good lenses, filters, etc.

 

[Lee Dashiell]

The RED has absolutely nothing to do with any filmstock. It's native 5000 Kelvin which means that the camera is going to be happier shooting in the daylight range rather than tungsten.

 

[Morning Glory]

We just shot a commercial for ExMark Lawn mowers and we used these lights. It looked great and the client loved the look.

That's an odd looking Red ONE Camera.

 

[Gregor Hagey]

The RED has absolutely nothing to do with any filmstock. It's native 5000 Kelvin which means that the camera is going to be happier shooting in the daylight range rather than tungsten.

My point was that if the logic of this thread (Red has less noise under Daylight colour balance, therefore only use Daylight colour balanced light sources) was applied to filmstocks (because as we all know film has this same issue), it sounds ludicrous when I jump to the conclusion that I should only shoot with Daylight balanced filmstock and therefore only light with Daylight balanced light sources.

The majority of what I've shot on Red has been with Tungsten lights without issue. I don't disagree that Red looks cleaner under Daylight, but it is more then acceptable looking under Tungsten. I've attached 3 frame grabs from scenes lit with Tungsten lights to let everyone here see how 'noisy' Red is.

Frame 1 is of Lauren Segal of the Canadian Opera Company performing in "Cherubino". She is lit with a 1K parcan bounced into a soft silver card and another parcan with Full CTB through a 4x4 silk that provides both a backlight and fill light.

Frame 2 is of Ted Dykstra in Paul Quarrington's "Pavane". He is lit with a 2K Fresnel with 1/2 CTO bouncing into the ceiling and filled in with a blue LED Pin Spot reflecting into a mirror ball.

Frame 3 is of Corey Haim in "Shark City". He is lit from above with a 1K Pancake light, filled in with a small MR16 that's velcrowed to the mattebox's eyebrow and the background light is a Kinoflo bulbed with Daylight tubes.

 

[Lee Dashiell]

That's an odd looking Red ONE Camera.

I didn't say we shot it on the RED......that's a HDX900. The client who hired us was doing the post and the RED wasn't an option.


The big picture here really is that people are buying what is truely a professional camera and they are dumbing it down shooting with shop lights.

Buying the RED certainly doesn't make you a professional....just a RED owner.