Controlling Fluorescent Colour

Hi all

I was wondering what the easiest way of controlling the colour of fluorescent tubes in a shopping centre, going to be shot on Digibeta.

I assume it's to gel the lights themselves (don't know what tubes I'm dealing with as yet - probably a variety of types in the different shops).

Any advice would be appreciated.

Steve Ross

Steve,

Quickest cheapest way would be to get two Lowell FLo Banks on Baby Jnr Roller stands, load them with the same type FLo 's that are in the ceiling and use them to fill and accent. White bal the camera to the key lights and you're all set.

Al Emer
Lighting Cameraman
Holmdel, NJ

>controlling the colour of fluorescent tubes in a shopping centre

Hi Steve

Sounds like a monumental task. It can get very expensive to gel and/or replace a large number of tubes.

My suggestion would be to white balance and filter at the camera for the shooting environment and then tweak in post-production to achieve your final look.

Good luck!

Geoff Zimmerman
DVCamps
www.DVCamps.com

>... fluorescent tubes in a shopping centre"....

White balance to the existing fluoro's, the filter any fill light or additional lighting you add to match that balance. Much simpler!

Wade K. Ramsey, DP
Dept. of Cinema & Video Production
Bob Jones University
Greenville, SC 29614

Hi

This shoot is at night (shopping centre closed), the director only wants to use some of the shop fluorescents.

I plan to use the "house lights" to give the impression of a source then key and fill to my hearts content.

If I were to fill with the same fluoro's, what housing can I use - Kino? (This shoot is in the UK)

Many thanks

Steve.

>White balance to the existing fluoro's, the filter any fill light or additional >lighting you add to match that balance. Much simpler!

Wade,

Not simpler...

Your assumption is that filtering the fill or key will do it. And I agree. But, time/money wise...what full range of filters do you need to have on hand given what FLo you will find in each store? A cool white with a narrow spectral?...or a FP42 with a high color rendering index (CRI)?

I think that rather than carrying a full range of mirade shifting filters and constantly clicking a color temp meter, its quicker and simpler to load the matching tube into the fill / keys and get on with the lighting/ blocking battle with the director.

Al Emer
Lighting Cameraman
Holmdel, NJ