Hi Luke, I have a question - Why do night lights have to be tungsten? And when using tungsten we balance the camera to 3200k making it white, then what's the use? Second, when working with saturated colors, what wouldn't it be better to use daylight as they will more saturated? I was reading an asc article on the cinematography of John Wick chapter 3. The film uses a lot of saturated colors but still they would replace the source light i.e. Arri Max with t24 at night. Could you please answer these questions? I am very confused.
I’m not exactly sure what you mean by night lights need to be tungsten; however, it is often the case that if you do light faces with tungsten it is easy to throw up an HMI for a background or ambient moonlight feel that has some blue in it. If you light everything with daylight fixtures and make that white, then if you want a moonlight glow to have a bit of a blue cast, then you would need to add more gel to the lights that create that feel. It all depends what your color scheme is and how you want to achieve it. I hope that helps.
I was just trying to explain one reason why one might choose to do this. No one says night lights have to be tungsten. There is no hard and fast rule here. I’m not even sure what you mean by night lights:) Using tungsten can be a preference. Some DP’s prefer the quality of light they get from tungsten over HMI’s and prefer to gel tungsten blue when they want a daylight balanced unit. You may need to be a little more specific with your question... or if I’m not answering your question satisfactorily you may want to try someone else:)
@@meetthegaffer okay let me put it this way - When shooting indoor DPs use 3200k lights or in the older days they would use tungsten balanced stock. Why is that?
Lots of great -ideas to steal- inspiration! Thanks Luke and Ivan.
Thanks for having me back Luke! Hope everyone's staying physically distanced and safe out there -- keep focused on the big-picture 👊
Thank you for sharing and perhaps inspiring some more folks to post an episode? Looking forward to your next one!
Amazing video! It was nice meeting you in NYC.
Another great episode. Thanks for sharing, Luke and congratulations to Ivan on his doc. Tough subject, but also inspirational.
Loved Ivan’s appearance!
Great breakdown of the setup, in depth and practical as well as offering insight to the creative motivation for the lighting choices - top job!
Great details on all the scenes Ivan. Very informative. Awesome work.
Love love love these
Great episode, thanks for the inside look!
Luke, quality content as usual. Thanks for sharing this, very insightful ^_^
Great content. Good to see them doing this.
Great content for the quarantine!
That was wonderful. Thank you
Since we are all quarantined, let's practice lighting concepts in our homes!
Hi Luke,
I have a question - Why do night lights have to be tungsten? And when using tungsten we balance the camera to 3200k making it white, then what's the use?
Second, when working with saturated colors, what wouldn't it be better to use daylight as they will more saturated?
I was reading an asc article on the cinematography of John Wick chapter 3.
The film uses a lot of saturated colors but still they would replace the source light i.e. Arri Max with t24 at night.
Could you please answer these questions? I am very confused.
I’m not exactly sure what you mean by night lights need to be tungsten; however, it is often the case that if you do light faces with tungsten it is easy to throw up an HMI for a background or ambient moonlight feel that has some blue in it. If you light everything with daylight fixtures and make that white, then if you want a moonlight glow to have a bit of a blue cast, then you would need to add more gel to the lights that create that feel. It all depends what your color scheme is and how you want to achieve it. I hope that helps.
@@meetthegaffer So the only reason to light at night with 3200k lights is to get white lights to behave as moon light. Is it all?
I was just trying to explain one reason why one might choose to do this. No one says night lights have to be tungsten. There is no hard and fast rule here. I’m not even sure what you mean by night lights:) Using tungsten can be a preference. Some DP’s prefer the quality of light they get from tungsten over HMI’s and prefer to gel tungsten blue when they want a daylight balanced unit.
You may need to be a little more specific with your question... or if I’m not answering your question satisfactorily you may want to try someone else:)
@@meetthegaffer okay let me put it this way - When shooting indoor DPs use 3200k lights or in the older days they would use tungsten balanced stock. Why is that?
Er, DP sometimes use tungsten, but not always. Not sure where you are getting your information.