DPs please check me on this...

[John Brawley]

But wouldn't an 80A loose some light in its effort to shift the balance of spectrum wavelength power? I.e., now, in addition to blue, red and green also start showing more noise. Unless, of course you increase the magnitude of lighting, the practicality of which will vary from set to set.

Yes. You're correct. You loose sensitivity by using an 80 Series filter.

Of course, you could just get on with shooting some nice pictures. Is anyone seriously looking at 320 shot images under tungsten lighting and complaining about the *actual* pictures they're seeing ?

I can understand keying is a different story and even then, Im finding you can still get perfectly good keys under tungsten conditions.

jb

 

[mezmo]

Yes. I know that. But it means you don't have to change your lights over to daylight balance. Which was the point.

I suspect that will be very expensive. Much more expensive than buying an 80A/C/D or even buying more or larger tungsten lights.

And tungsten lighting looks better.

jb

Hi John
The idea is to reduce B channel noise on RED by shooting Daylight balance,
Kino daylight tubes are the same cost as Tungsten and LED's may be also
help with a low cost daylight source. 80 series filters may have to used anyway for some situations, tungsten looks great on film but i'm less than
happy with it on Red.
If it's not a problem for you, thats fine, shoot anyway you want, i'd rather have more speed and less noise, even if I have to balance Daylight to get it.
Cheers Mezmo

 

[John Brawley]

Hi John
The idea is to reduce B channel noise on RED by shooting Daylight balance,
Kino daylight tubes are the same cost as Tungsten and LED's may be also
help with a low cost daylight source. 80 series filters may have to used anyway for some situations, tungsten looks great on film but i'm less than
happy with it on Red.
If it's not a problem for you, thats fine, shoot anyway you want, i'd rather have more speed and less noise, even if I have to balance Daylight to get it.
Cheers Mezmo

Well the first post I responded to suggested that shooting daylight was a hidden cost of shooting red. All i did was point out that you could in fact shoot with a very low cost 80 series filter without having to change over from tungsten colour temp lights.

I didn't say it would be the same sensitivity, or even ideal.

Just that you could. Not that you should.

Im not sure what you mean about tungsten being better on film. I was referring to the fact that actual tungsten light sources have more pleasing spectrum of colour emission. Well to me anyway. Discharge lights like HMI's or kino's( daylight or tungsten) tend to look pallid and anaemic to me. LED's are also have the same problem. They are peaky in certain parts of the spectrum, and like HMI's and fluro's / Kinos, red deficient. White LEDS are usually blue LED's doped in a mix of phosphors. Even a LED light made of RGB LED's is still going to be very peaky in the specific wavelengths that it's individual LED's are placed. Im interested in why you don't think RED works well under tungsten.

I totally understand the technical reasons of why you'd want to balance to daylight in a studio, i just don't think it's very practical. I'm not a lighting snob. I use these source's all the time. I just point out that nobody shoots daylight balance in a studio. Well not that I've ever seen. Of course it can be done and any gaffer would be able to do it.

You want a noise free picture. I'd rather having something that I like the look of.

jb

 

[James Brundige]

80 series filtering

80 series filtering

Any updates on this filter discussion?

Does it make sense to White Balance, then add an 80D?

If you filter then WB, doesn't that kill the filter's effect?

Or is the White Balance monitoring only, and does not affect RAW recording?

 

[Steve Sherrick]

White balance is metadata only and shows up as a reference point in REDCINE and RED ALERT. Not baked in.

 

[Chris Nuzzaco]

One potential lower budget solution for the blue channel noise issue is careful unsharp masking. I find it makes quite a difference for me when I shoot unfiltered with my Andromeda, so I figure it should work well with the Red One.