Blaise Douros
Forum Replies Created
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There really is no “best” at that budget. You should consider just renting for your current project and buying lighting when you can make a more solid investment.
That said, look at these two kits:
https://www.bhphotovideo.com/c/product/298604-REG/Impact_401470_Three_Light_Mini_Boom_Kit.html
I would also make sure to pick up some gels that you can use to match the colors of your ambient lighting–with these kits, you won’t be overpowering any on-set practicals.
STAY AWAY from LEDs and fluorescents at your price point, you will only get junk and very little output if you buy into those technologies. Tungsten is relatively cheap for the wattage.
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Consider the Sony X70 over the Canon XA20. Comparable features in most ways, but it can be upgraded to shoot 4K, and it has a 10-bit 4:2:2 codec, which you don’t know you need until you have it…
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Yeah, even without Lumetri running, it’s still happening for me, but it takes longer. I’ll be filing one, as well.
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Kevin Monahan has confirmed over in the Adobe forums that this is a memory leak caused by the Lumetri Scopes. It seems that closing this panel should allow us to work smoothly until it’s color correction time.
They are working on a fix. In the meantime, we can file bug reports here.
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Yes, this is the bit that is getting me. On simple projects, it takes a lot longer to happen, but on complex projects, I am having to restart Premiere every hour or so. Maybe a memory leak of some kind.
Or maybe it’s PP’s way of telling me to get off my butt for a couple minutes and stretch my legs 🙂
Glad to know that I’m not the only one. Not glad, obviously, that others are experiencing the issue, since it’s a bugger!
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Then I would definitely spend whatever budget you can on buying or renting some good lighting gear and/or hiring a grip who has some already. Good lighting is going to raise your production value immensely, and if you already have the cameras, camera support, and audio that you need, it’s the logical next step.
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OP seems to think that he has an adequate amount of sound gear–since he didn’t specify what he has, seems difficult to make a recommendation.
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You should get some daylight CTB gels for your tungsten light, so you can get it to color-match the ambient light from the windows. They are inexpensive, around $8 a pop. Snag some clothespins as well, to fasten them to the lights.
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CTF is just referring to a fluorescent gel.
Yeah, so on the 5D, you have several options; use the Auto WB (not recommended when you need the color control), do a manual WB (more in a sec), use the preset, or set Kelvin manually.
Doing a manual WB is a pain in the ass on Canon DSLRs. You have to take a photo of the scene, then go into a menu to select the area of the photo that you want to use as the manual white balance. It sucks.
Frankly, you’re better off just using the Fluorescent preset. It will be close enough that you can nudge your footage one way or the other in the edit.
The other option is to set a Kelvin number manually, and then use the WB Shift option to offset the green-to-magenta shift manually.
I’d just use the Fluorescent preset.
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Getting your lights gelled to be a similar color is only step one of two. You still have to white balance your camera, even if your light all matches–getting it all to look fluorescent green only makes it match. White balancing is what gets your color to look neutral.
Get all your non-fluorescent sources gelled with a fluorescent CTF gel, and use the fluorescent WB preset on your camera, or do a manual white balance. Even if there are minor differences in hue, you should be able to get a solid WB and grade it to your liking. The lower of your two images looks pretty good to me–is that the one where you used the preset?