19:06:04 [FM] I will start by pointing out some differences between the human eye, celluloid (or film), and a video camera.
19:06:14 [FM] The human eye is an amazing instrument, together with the brain:
19:06:24 [FM] Take an approximate estimate -- the eye is equivalent to 11000 x 11000 pixel CCD
19:06:37 [FM] With pixels of about 2 microns in size. This is the equivalent to about 120 mega pixels!
19:06:48 [FM] The best 35 mm film frame may have about 3000 x 3000 pixels
19:06:57 [FM] Standard definition video will have from 720 x 480 (NTSC) to 720 x 576 (PAL) pixels.
19:07:07 [FM] One of our eyes can see a picture with approximately 350 times more detail than a standard definition video.
19:07:13 [FM] And a contrast range that is about 8 times wider.
19:07:25 [FM] And contrast is one of the most important issues in lighting!
19:07:38 [FM] Concept: Dynamic Range
19:07:45 [FM] in video refers to the lowest level of reflected light that the camera can register detail,
19:07:54 [FM] up to the highest level of reflected light that the camera can register detail
19:08:01 [FM] Everything outside these limits is Black or White.
19:08:13 [FM] The ratio between these two levels is called the Contrast Ratio
19:08:20 [FM] Questions so far?
19:08:57 [FM] none?
19:08:57 [Mitch] cool...except that only applies after I've had my morning coffee
19:09:07 [FM] lol
19:09:30 [FM] Lets assume, very conservatively, that the human eye can perceive a contrast ratio of 1000:1.
19:09:39 [FM] Stock film can be ranged from 250:1 up to 500:1 on camera, while distribution prints will never get that far.
19:09:59 [FM] Prosumer video cameras will have a ratio of about 64:1 while a Pro camera may very well be around 128:1.
19:10:10 [FM] These ratios are fixed: they don’t get wider by changing the iris!
19:10:31 [FM] This is an important notion: the camera contrast range is by far less than that of the human eye.
19:10:42 [FM] Questions?
19:10:49 [Mitch] is that because of the larger size chips in pro cameras?
19:11:12 [FM] yes, & electronics also
19:11:16 [slakrboy] Maybe it is better electronics?
19:11:19 [Mitch] or just better quality chips/lens?
19:11:30 [Mitch] ok
19:11:34 [FM] but the CCDs size play a major role on that
19:11:57 [FM] yea, you are also right there
19:12:37 [FM] remember that lenses are much better for pro cameras
19:12:43 [FM] ok?
19:12:56 [Mitch] good here
19:13:02 [FM] Another issue where the human eye beats the camera is the way eyes are adaptive to color.
19:13:17 [FM] The color temperature is a concept well known to photographers, cinematographers and videographers:
19:13:25 [FM] In theory color temperature is a measure of light emission of metal as it is heated.
19:13:59 [FM] If he had a piece of iron and start heating it we would get a sequence of colors:
19:14:09 [FM] It begins to glow with a fainted red.
19:14:16 [FM] We would then get red at 3200 K (Kelvin) of temperature
19:14:25 [FM] White at 5000 K, blue-white at 8000 K up to intense blue at 60000 K
19:14:33 [FM] We can use this scale to measure light color temperature in different situations, that are already standardized:
19:14:47 [FM] Incandescent light will range from 2500 K to 3400 K,
19:14:57 [FM] while day light will range from 2000 K at sunrise, 7000 K on an overcast day, up to 9000 K – 12000 K on a bright day.
19:15:11 [FM] Each of these color temperatures will bring a color dominant or tint to our picture.
19:15:21 [FM] Mostly we’ll only consider 3200 K and 5600 K for video.
19:15:29 [FM] 3200 K gives a red color dominant while 5600 K gives a blue color dominant.
19:15:37 [FM] And, unless we want a special effect and know very well what we are doing, we don’t want to mix these dominants.
19:15:48 [FM] Questions?
19:16:07 [AdamKampia] that's interesting and counter-intuitive b/c you always think of "hot" colors as red-yellow and "cold" as blue-green.
19:16:26 [FM] yes in a way
19:16:56 [slakrboy] If you look at the color spectrum, it makes sense
19:16:59 [AdamKampia] so I have to start thinking backwards in color temperature ;-)
19:17:08 [FM] but that you are mentioning as t do with the emotions that color gives
19:17:22 [goober99] I just was able to check again. A lot happened without me. So what kind of light bulb gives off the "right temperature?"
19:17:24 [slakrboy] Red orange yellow green blue indigo violet
19:17:25 [FM]
yes
19:17:35 [AdamKampia] gotcha
19:17:48 [Mitch] fascinating! just hadn't thought about it that way before
19:18:12 [goober99] Okay.
19:18:15 [slakrboy] I guess photography was good for me then...
19:18:21 [FM] but there are ways to keep the temperature at a given level
19:18:43 [goober99] Is it just important to keep the temperature even throughout a filming session then?
19:19:03 [slakrboy] Not necessarily even, but close
19:19:11 [FM] for instance EVERYTHING you shoot indoors is most likely to be 3200 k
19:19:45 [FM] basicly slakrboy is right
19:20:12 [FM] you can mix temperatures once you know how they affect the colors
19:20:22 [FM] & can control it
19:20:45 [FM] Now, how do we balance the color temperature? First we set the light kit (if we have one) to use the same color temperature range:
19:20:59 [FM] Either leave at their natural low color temperature (around 3200 K) or raise it to daylight color temperature (around 5600 K)
19:21:19 [FM] These are conventional color temperatures since a tungsten or quartz incandescent lamp radiate 3200 K
19:21:26 [FM] and photographic daylight is considered to have a mean value of 5600 K.
19:21:40 [FM] To raise the color temperature we use a color correction gel. More on that later.
19:21:50 [FM] Then we do the white balance on the camera
19:21:58 [FM] by pointing the camera to a white target with the actual shooting light and setting the white balance.
19:22:09 [FM] This tells the camera how white “looks like” under a certain color temperature.
19:22:19 [FM] While pro cameras also have the black balance, most Prosumer cameras only have the white balance.
19:22:30 [FM] The camera will know what is white and how to properly register all other colors.
19:22:37 [FM] Tip: we can achieve some color effects by cheating - balancing white against a blue or red target.
19:22:44 [FM] Questions?
19:23:23 [Mitch] none here
19:23:46 [Nancy] I'm okay.
19:23:49 [AdamKampia] so you said we don't want to mix temps, does that mean we don;t want to mix indoor & outdoor shooting w/o that gel and other tricks?
19:23:56 [FM] that's an important issue, the white balance.
19:24:35 [slakrboy] In most cases, within a scene you don't mix. It depends on context
19:24:51 [D-Weaver] What's the best way to go about setting the white balance?
19:25:08 [FM] you can mix it sometimes & with some experience you will even know when the sun is likely to have a low color temp
19:25:16 [slakrboy] White foam core boards
19:25:36 [D-Weaver] Fill the entire frame?
19:25:46 [FM] yea
19:25:55 [D-Weaver] ok
19:26:01 [slakrboy] If you can, but usually 75%, including the center
19:26:24 [slakrboy] At least on my camera
19:27:09 [slakrboy]
True, that's why I try to fill the frame!
19:27:09 [FM] cause you never know what area the camera eally uses for the reading
19:27:13 [AdamKampia] why can't you just go close-up and fill teh frame? Does that make it less effective?
19:27:36 [slakrboy] Thats what I usually do
19:27:52 [slakrboy] Sometimes I may be very far away from the subject though...
19:28:17 [FM] lol... i just got disconnected again... sorry
19:28:32 [slakrboy] When I do recitals and such, this is where i run into problems
19:28:56 [FM] also ideally the surface of the target shouldn't be reflective
19:29:35 [FM] ?
19:29:40 [Nancy] would any kind of fabric work?
19:29:57 [FM] yes
19:30:02 [Mitch] ever use just a white sheet of paper?
19:30:07 [Nancy] thanks.
19:30:25 [FM] most of the time that's what I use
19:30:35 [FM] the paper
19:30:41 [Mitch] ok
19:30:46 [slakrboy] FW > Well it depends. I have instances where not all the lights are on until the show, even when I ask them to turn it on. Customer is King!
19:30:48 [FM] we always have a sheet of paper around
19:31:36 [FM] but remember that the color temperature will be about the same
19:31:53 [FM] wether with one or more lights on
19:32:06 [FM] as long as they are similar
19:32:37 [FM] it will havwe variations but wont be that much noticeable
19:32:50 [FM] ok?
19:32:55 [slakrboy] cool
19:33:01 [D-Weaver] good here
19:33:09 [Nancy] ok
19:33:17 [FM] Ok, now on to types of lighting instruments
19:33:18 [Mitch] yea
19:33:33 [FM] These fall into a few basic categories:
19:33:39 [FM] - open faced
19:33:49 [FM] - lensed
19:33:57 [FM] - fluorescents
19:34:07 [FM] - HMI and arc lights
19:34:17 [FM] - softlights
19:34:25 [FM] - special instruments
19:35:22 [FM] lets start with open faced
19:35:33 [FM] these are the most basic unit: variations on a simple bulb and a reflector (example: the photoflood)
19:35:48 [FM] pretty inexpensive and 3200 K (from 100W up to 2000W of power usually, most commonly 500W and 1000W)
19:36:31 [FM] these project a large, soft-edge beam and are good as a fill light or a broad-area lighting
19:37:13 [FM] there may be also some sort of focusing device but not much precise
19:37:22 [FM] ok?
19:37:39 [slakrboy] good so far
19:37:42 [Mitch] yep
19:37:51 [FM] - lensed
19:38:02 [FM] these produce a beam focused by a glass lens. There is also a reflector on these one but not so important as on open faced instruments
19:38:24 [FM] he exception to that is on the ellipsoidal and the PAR projectors
19:38:33 [FM] the Fresnels have a stepped kind of lens making these projectors very easy to focus
19:38:44 [FM] 3200 K (from 100W up to 10000W of power usually, most commonly 500W, 650W and 1000W)
19:39:00 [FM] ok?
19:39:18 [slakrboy] ok
19:39:20 [Mitch] yep, I've used these
19:39:35 [Nancy] I'm good.
19:39:50 [Mitch] what's PAR?
19:40:19 [FM] we will get there right away
19:40:31 [FM] on this category fits the ellipsoidal. Named after the shape of its reflector which pre-focus the light before it goes through a plano-convex lens
19:40:32 [Mitch] ok
19:40:46 [AdamKampia] So what situation woudl a lensed light be usefull?
19:40:48 [FM] it produces a sharp beam with s very even distribution of light. Cut out patterns can be used inside the body of the projector
19:41:09 [FM] the cookies
19:41:24 [AdamKampia] ahh! the cookies
19:41:36 [FM] these project these patterns with more or less sharpness, depending on the way we focus
19:42:41 [FM] some of them also have blades to limit & shape the area we want to light
19:43:14 [FM] ok?
19:43:34 [Mitch] yes
19:43:39 [Nancy] gotcha
19:43:47 [FM] for instance we may want to simulate the shaders effect on a wall
19:44:14 [FM] I believe thats what those things on the windows are called... lol
19:44:35 [FM] we can use them for these purpose
19:44:49 [Mitch] yep
19:44:54 [FM] still on the same category is the Dedolight which pre-focus the beam with a second lens rather than with the reflector
19:45:34 [FM] pretty much the same use as the ellipsoidal
19:45:58 [FM] Also on this category are the PARs (Parabolic Aluminized Reflector)
19:46:11 [FM] These were frequently used at rock concerts but not so much so since the appearance of the robot-lights.
19:46:58 [FM] these are way less expensive than the others on this category
19:47:12 [FM] They can have some use on video and mostly on film productions ganged into arrays from 6 to 36 units
19:48:00 [FM] so we can have large areas lightened by these
19:48:11 [FM] ok, questions?
19:48:30 [Mitch] ok
19:48:54 [FM] - fluorescents
19:48:56 [Nancy] ok
19:49:07 [FM] Not too long ago video and fluorescent lights where incompatible
19:49:30 [FM] the most common ones still are
19:50:14 [FM] their light radiation is on the green tint
19:50:41 [FM] so these, the common ones are not kind to video
19:51:11 [Mitch] makes people look like they're sick...
19:51:19 [FM] avoid them as much as possible unless you an compensate them with a gell on each lamp
19:51:31 [FM] yea they do
19:51:54 [slakrboy] You can also white balance against a light green card
19:52:08 [slakrboy] This gives a more natual color
19:53:11 [FM] It's virtually impossible to do it
19:53:40 [FM] because they radiate in a very narrow range of wave lenghts
19:53:57 [slakrboy] We'll have to disagree on that one. I do lots of retirement cermonies at the base I work on. I do this all the time
19:54:09 [FM] while all other lights chanche the tones equally
19:54:20 [FM] change
19:54:57 [FM] oh I know we can do it, but if you compare them to a diferrent take
19:55:25 [FM] wjth other types of light you will see that the colors are not all well distributed
19:56:02 [FM] unless: the lamps are daylight
19:56:51 [FM] this is the new kind of fluorescent that are becoming common in video
19:57:11 [slakrboy] I don't think they're daylight, If I don't use the green card they look like zombies...
19:57:24 [FM] lol
19:57:53 [FM] but the green card just misleads the camera... a good trick, but
19:57:54 [Mitch] I've used viddense, they look quite good
19:58:31 [FM] I could never feel satisfied with the results with non daylight fluorescets
19:58:37 [Nancy] are there lens filters for a camera that would help under flurescent lights?
19:59:14 [slakrboy]
If I thought I could get away with setting up lights
at the ceremony, that would be my preferred method...
19:59:16 [FM] mostly for the lamps
20:00:04 [FM] there are some gels that come in sleeves
20:00:46 [FM] but to filter on camera doesn't produce good results
20:01:50 [FM] there are also fluerescent lights for chroma keying
20:01:53 [Nancy] ok. thanks.
20:02:03 [slakrboy] sorry guys, my kitchen pass just got revoked...
20:02:23 [FM] wich became quite popular because they produce a very even area of light
20:02:30 [AdamKampia] lol@slakr
20:02:38 [FM] lol
20:03:15 [FM] as long as the lamps have the same amount of hours of use
20:03:39 [FM] since they are also used in arrays
20:03:53 [Nancy] makes sense
20:04:11 [FM] mitch, do you think we should continue tomorrow?
20:04:18 [Mitch]>[FM] we seem to have finished the 1st hour...
20:04:27 [FM] lol
20:04:32 [Mitch] find a good place to break
20:04:49 [Mitch] and let's continue tomorrow
20:04:53 [FM] ok final questions for this session?
20:05:31 [Mitch] thanks everyone for coming!
20:05:38 [Nancy] thanks FM.
20:06:08 [Mitch] yes and thanks a lot fernando, a very very good discussion
20:06:23 [FM] i'm not sure this was exactly what you guys where hoping for
20:06:28 [AdamKampia] awesome information. Thanks a lot!
20:06:32 [FM] think so?
20:06:41 [FM]
ok good!
20:06:49 [Nancy] yes I agree.
20:07:02 [FM] more to xcome tomorrow
20:07:06 [AdamKampia]
Hey, one could pay tuition for this at an art school
20:07:22 [FM] lol
20:07:31 [Mitch] yes 11 am Pacific tomorrow
13:01:02 [Mitch] Hi everyone! Fernando Morgado will be leading the discussion today
13:01:57 [Mitch] this is the 2nd part on lighting for video...The next scheduled discussion is June 2/3 by Nancy on using Photoshop for titles
13:02:19 [Mitch] So...now fernando has center stage
13:02:36 [FM] ok, thanks
13:03:29 [FM] yesterday we stopped when I was enumerating the light instruments categories
13:03:49 [FM] we ended at the fluorescents
13:04:01 [FM] next category is
13:04:11 [FM] - HMI and arc lights
13:04:22 [FM] Hydrargyrum Medium-arc Iodide lights are a version of the old carbon arc light
13:04:34 [FM] HMI are more portable the carbon arc & throw a very high light level at the same color temperature as the sun light
13:04:49 [FM] HMIs must run off a special power supply: the ballast which limits the amperage that runs through the arc
13:05:07 [FM] these are good for video with the camera shutter speed set to 1/60, otherwise flickering will occur
13:05:25 [FM] HMIs can go up to 18KWatts, and take a few minutes to reach full output: wait before measuring light levels or setting the white balance
13:05:41 [FM] Questions?
13:06:07 [FM] ok
13:06:09 [Mitch] that shutter speed is pro cameras, right?
13:06:12 [FM] - softlights
13:06:35 [AdamKampia] Did you mean you need HML with 1/60 shutter speed, or vice versa? (need 1/60 when using HML)
13:06:56 [AdamKampia] HMI, I mean
13:06:59 [FM] well mitch most prosumer cameras already have shutter speed control
13:07:16 [Mitch] ok
13:07:38 [AdamKampia] ok
13:08:01 [FM] those cameras without that control are usually set to 1/60 fixed
13:08:10 [FM] ok?
13:08:41 [FM] - softlights
13:08:52 [FM] This is a broad category of lights which can be of any of the light sources mentioned above
13:09:01 [FM] These are designed to throw diffused light with soft-edged shadows and highlights
13:09:13 [FM] Fluorescents are softlights by their nature
13:09:24 [FM] Hard light sources are diffused either by refraction (through diffuse materials) or by reflection
13:09:33 [FM] Things to remember when setting softlights:
13:09:45 [FM] - bigger light sources are softer than smaller ones
13:10:03 [FM] - distance from the subject: while the inverse square law applies to all light sources, softlights falloff over distance more severely than focused lights
13:10:20 [FM] ok?
13:10:40 [Mitch] yes
13:10:44 [psturgill] is halogen considered a hard light?
13:11:33 [FM] halogen is a type of bulb tha can be fitted in severla light sources
13:11:45 [psturgill] ok
13:12:20 [FM] Most lights with focus devices are by considered hard lights
13:13:12 [FM] the rest can be conseidered soft
13:13:21 [FM] ok?
13:13:42 [FM] - special instruments
13:13:50 [FM] virtually any light source can fit in this category from small bulbs to light auto dashboards to Chinese lanterns which ca be use for soft fill and accents in many situations.
13:14:11 [FM] The on-camera light also fits in this category, being essential in field news and other situations
13:14:24 [FM] When used as key light they create a flat uninteresting look. To be used only when there are no other options.
13:14:37 [FM] But they can be used as fill lights, or eye lights effectively
13:14:54 [FM] Questions?
13:15:04 [Mitch] what's an eye light?
13:15:45 [FM] a light used to highlight the eyes
13:15:58 [Mitch] ok
13:16:19 [FM] the eyes are a very important window to a subjects mind
13:17:25 [FM] so, using the on-camera light, not as the key light but in addition to it & focused on the eyes can give a better reading
13:17:44 [pgranadas] that's right, if you have them shadow, you have something like a sick person or so
13:17:47 [FM] to the subjects emotions
13:18:08 [FM] ok?
13:18:09 [Mitch] yep
13:18:22 [Nancy] ok
13:18:23 [FM] On to basic lighting setups
13:18:48 [FM] THE famous 3 point light setup
13:19:04 [FM] this setup uses a key light which usually is motivated by the ambient light we want to reproduce either from a window or from a ceiling lamp, etc
13:19:15 [FM] if not motivated (as in an interview in a studio) then is typically placed on the side near the camera
13:19:29 [FM] then we set a fill light to illuminate shadowed areas placed on the other side of the camera at about the same height of the key light
13:19:43 [FM] the fill light is usually 50% of the power of the key light. For instance 1kW key light, 500W fill light
13:20:00 [FM] then we set a back light behind and above the subject to separate it from the background
13:20:09 [FM] this can be 50% or 100% of the key light
13:20:17 [FM] if our aim is just get a well lit subject we can forget the motivated light:
13:20:30 [FM] we just make sure that the key light is not too high, avoiding too steep angles which cause ugly shadows
13:20:39 [FM] all lights much be properly focused on the subject
13:20:47 [FM] this basic setup is a general purpose start to more complicated setups
13:20:57 [FM] questions?
13:21:17 [Mitch] how far apart should the key and fill lights be?
13:21:50 [psturgill]
wish we could see a 3d diagram of what the setup looks
like...
13:22:08 [pgranadas] good ideia...
13:22:23 [FM] there is no specific distance but we should use a angle
13:22:53 [FM] of no more than 70 degrees
13:23:18 [Mitch] ok
13:23:40 [FM] the rule is exerimenmting until you get the right fill
13:24:19 [pgranadas] can i sugest a link for the image diagram?
13:24:35 [FM] neither the key light or the fill ligth should be in line with the camera
13:24:41 [FM] sure
13:24:56 [FM] if you have one
13:25:08 [pgranadas] http://desktopvideo.about.com/library/weekly/aa083002a.htm, just found it...
13:25:27 [pgranadas] it has an interesting image
13:26:00 [FM] a bit slow...
13:26:07 [psturgill] where?
13:26:25 [pgranadas] scroll down to the midle of the page
13:26:50 [Mitch] http://desktopvideo.about.com/library/weekly/aa083002a.htm
13:27:11 [Mitch] a comma got added to the URL by the chatroom
13:27:29 [pgranadas] sorry
13:27:54 [Mitch] stupid software
13:27:59 [psturgill] cool
13:28:20 [Mitch] anyway, go ahead fernando
13:28:32 [pgranadas] I think it shows what you were saying Fernando
13:28:33 [FM] LOL
13:29:05 [FM] Ok, so there is a nice example of the setup
13:29:22 [FM] thanks paulo
13:29:35 [pgranadas] welcome, go on~
13:29:36 [FM] You can also solve a 3 point light setup with two lights or even one
13:29:53 [FM] Basically you can use reflectors or any reflecting surface (even a wall)
13:30:08 [FM] By putting the subject near a corner we can use the walls reflections as fill and back lights
13:30:21 [FM] Or we can use the proximity of a wall to fill and use only a key and a back light
13:30:39 [FM] These are tricks that can be used when we lack the needed lights in some situations
13:30:49 [FM] Having reflectors at hand (even a just a large sheet of paper) can be of much use while on exteriors as the daylight
13:31:11 [FM] on a clear bright day is usually hard making sharp shadows. We would use them to fill these shadows and get a softer look
13:31:14 [Mitch] being near a wall, won't you get shadows on the wall?
13:31:52 [FM] Depends on the angles you use to light
13:32:13 [Mitch] ok
13:32:58 [FM] you may not want the light to hit so hard on the back wall
13:33:39 [FM] you can use a diffuser on just the area of the light that hits the wall
13:34:02 [FM] Ok?
13:34:22 [Mitch] yes
13:34:28 [FM] With 3 point lighting we find that, most of the time the subject is well lit but all the rest is too dark.
13:34:50 [FM] and we must remember that the camera contrast ratio is between 64:1 and 128:1
13:35:14 [FM] We may need to light the whole scene.
13:35:24 [FM] When doing that remember that too much light doesn’t solve anything
13:35:50 [FM] usually complicates even more
13:36:01 [FM] We have to keep some coherence and keep the contrast ratio
13:36:15 [FM] within the limits
13:36:51 [FM] it helps to do a diagram of the room being lighted
13:37:24 [FM] and start sorting out some of the the ligh on paper
13:37:56 [FM] The most common problem we will be facing has to do with hot spots
13:38:59 [FM] sorry got disconnected for a while
13:39:11 [Nancy] wb
13:39:38 [FM] These are caused, most often, by reflections on glossy surfaces
13:39:52 [FM] The simplest solution is removing the offending the offending object.
13:40:05 [FM] Minor changes in camera or lighting angle can also sometimes clear the problem
13:40:45 [FM] there are also some sprays to solve this situation on some surfaces
13:41:03 [FM] Eyeglasses are a different problem. Most of the time, it is important to see the subject eyes
13:41:32 [FM] and sometimes the right angle for overall light is the wrong angle for eyeglasses.
13:41:50 [FM] In fiction there are flat lens eyeglasses that reduce the angle affected by reflections
13:41:59 [FM] But in an interview that is not a solution. Sometimes it is possible for the subject not to wear them
13:42:22 [FM] Orwe can try to get the interviewer to sit a little lower than the subject to make him look a little downward
13:42:44 [FM] we acn also raise the key light a bit (that’s the light that usually reflects)
13:43:00 [FM] Questions?
13:43:09 [pgranadas] do you know any software to hel on the room diagram?
13:43:12 [Mitch] no, good tips
13:43:27 [Nancy] yes very good.
13:47:10 [Mitch]
a notepad and pencil work in an emergency
13:47:31 [FM] definitely yes mitch
13:48:11 [FM] any more questions?
13:48:23 [Mitch] no
13:48:33 [psturgill] nope
13:48:41 [FM] on to Gels then
13:48:58 [FM] To correct color temperatures we use gels (or color filters)
13:49:11 [FM] The specific gels to correct color are:
13:49:19 [FM] - Blue to convert 3200 K to daylight (5600 K) known as CTB – Color Temperature to Blue
13:49:32 [FM] - Orange to convert 5600 K to 3200 K known as CTO – Color Temperature to Orange
13:49:47 [FM] - Green to correct 3200 K to fluorescent known as Plus Green
13:49:57 [FM] - Magenta to correct fluorescents known as Minus Green
13:50:09 [FM] there are also ¾, ½ and ¼ for each of these gels: for instance ¾ CTO
13:50:26 [FM] for specific uses
13:51:11 [FM] there are also gels for setin color moods
13:51:26 [FM] but the catalog is huge
13:51:55 [FM] http://www.gamonline.com/
13:52:16 [FM] there you can find some usefull info
13:52:52 [FM] not only about gels but about several special light instruments
13:53:06 [FM] questions?
13:53:28 [pgranadas] none
13:53:41 [AdamKampia] are the gels easy to clean off?
13:53:47 [Mitch] all ok
13:53:49 [Nancy] great
13:54:15 [Mitch] they're just plastic sheets, usually don't get dirty
13:54:18 [FM] yea, plain water or alcohol
13:54:26 [FM] LOL
13:54:54 [AdamKampia] oh gotcah
13:55:19 [FM] I'm well aware that I have skipped a lot of things
13:55:47 [FM] so if there is anything you think I may have left over just say so
13:56:09 [Mitch] I think it was very useful
13:56:21 [pgranadas] agree
13:56:26 [psturgill] how much does a typical lighting system cost?
13:56:30 [AdamKampia] Yeah, thanks.
13:56:37 [AdamKampia] One question.
13:56:39 [Mitch] Thanks very much Fernando
13:57:00 [AdamKampia] Say I want a hard, crisp shadow, what light setup do you recommend
13:57:23 [FM] don't ask me about prices lol
13:57:41 [psturgill] lol
13:58:00 [psturgill] does anyone here have a lighting system?
13:58:35 [FM] hard lights with some focus device on it. don't use a fill light
13:58:39 [Mitch] You can buy lights at Home depot....
13:59:04 [psturgill] Mitch, like workshop lights? I have those...
13:59:16 [AdamKampia] thx
13:59:43 [Mitch] paul, not ideal but they will work
14:00:21 [Mitch] it really depends on the situation...what you need to light
14:00:42 [FM] sorry got disconnected again
14:00:58 [ash] ME TOO
14:01:19 [psturgill] well thanks Fernando... very interesting info
14:01:25 [FM] Adam also remember the contrast ratio