Oscar Deflorez
Forum Replies Created
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Admittedly, I have not filmed fireworks as of yet (seems I’ll have to now :), but just the logistics of it don’t make sense IMO to place an orange filter on an environment that has no daylight whatsoever. I just can’t see how a big splash of green and red across the sky is considered blue light (daylight). I have however taken photographs of a crowd during fireworks, using daylight film, no flash and under the light of the fireworks, the crowd rendered on the warm side.
And I guess the truth is, when you watched the footage after you filmed in either 32k or 56k, no one would really know that the colours were rendered correctly I guess anyways. The fireworks will just be off on one side of the spectrum or the other and no one would ever know. The only time I think it would make a difference and be apparent is during crowd shots as I said, where they are being lit by the fireworks displays themselves or by street lamps close by. Anyone else have thoughts on this..or am I the only one in support of a 32k filter for fireworks. -
Thank you John, I will try this. I didn’t know that camera’s had these hidden features. Too bad they didn’t just print this kind of thing in the manual.
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Just wandered by and thought I’d drop my two cents in on this one. IMO – Put the camera on preset cause there is obviously no way to set your white balance in this situation, next put the camera on your 32K setting as you will not be recording any daylight, all light sources are likely to be 32K ish. ie. street lights and such might render too warm if you use the daylight setting and people’s faces will look the right colour under whatever artificial lights are around (assuming you are filming some of the crowd also). Your fireworks would likely render proper colour under tungsten filter also given that they are artificial light as well. I seem to have opposite opinions of the last two responses..so I’m a bit out numbered here ha ha. It’s hard to say what stop to put the lens on without using the first firework as a test – cause some of them are pure white explosions and others are green. I’m not sure by your post if your set up with a mobile, switching between cameras? or if your recording independent to tape and syncing up in post? Hopefully you have a monitor at least to see one firework display go off to make sure your settings are good. Not sure how much help your zebras would be – but I’d set it at 100 and if you see them you know to close down the iris a touch. Best of luck.
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IMO – it’s a technical problem possibly with that feature. Having said that I would recommend avoiding vibration reduction anyway as it degrades the image. Use a tripod next to always unless of course you have a steadicam.
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Good idea Steve, thank you. I am going to have to get an ND to test that out. I have never needed ND because of course it is built into my camera for the 56K setting (which is the only time you need one). I have wondered if I could create this effect taking advantage of the in-camera color altering abilities of the digital image system. Just speculating – I wonder how close the 32K filter is to the blue tint used for day-for-night? Do you know? What’s your opinion on adding correction in post with regards to the fact that I’m using SD on an ENG. I’m afraid to mash up my limited pixel count and using Premier.
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Thank you David for your indepth explanation. I figured it could be broken down in some way or another. I don’t know if your familiar with Tim Burton’s Sleep Hollow, but that was shot day for night and it gave it a really interesting look. You mentioned that the blue filter will cancel out reds. I did notice that in this film there is an underexposed, bluish tinge to the film, there seems to be no green and the reds definately pop off the screen. Any comments? Thanks.