Cinematography-Theory-And-Practice

Figure 12.19. Strong monochromaticcolor in Kill Bill.Table 12.1. Mired values of basiccolor correction/conversion gels.TYPEORANGE GELSMIRED VALUEFull CTO (85) +851/2 CTO +811/4 CTO +421/8 CTO +20BLUE GELSFull CTB -1311/2 CTB -681/4 CTB -301/8 CTB -12COLOR BALANCE WITH GELS AND FILTERSThe term gel refers to color material that is place over lights, windows,or other sources in the scene. Filter is the term for anythingplaced in front of the lens to (among other things) control color.There are, however, gel-type filters that can be used in front of thelens, but these are not commonly used in film production.There are three basic reasons to change the color of lighting in ascene, which can be done adding gels to the sources or by using daylightor tungsten units or a combination of them:type or color balance of a video camera.Gelling the lighting sources gives you more control over the scene,camera makes everything uniformly the same color. The exceptionto this are filters called grads, which change color from top to bottomor left to right or diagonally depending on how they are positioned.Examples of grads in use are found in the chapter Image Control,where other aspects of using filters are also discussed.The three basic filter/gels families used in film and video productionare conversion, light balancing and color compensating. This appliesto both lighting gels and camera filters. See Tables 12.1 and 12.2 forjust a few of the most commonly used types. There are gels that arerandom, non-calibrated colors called party gels.Light Balancing Gels peratureof the sources; which means they affect lights on the blueorangeaxis (Table 12.1). They are primarily for changing a daylightsource to tungsten balance or vice-versa.Daylight sources include: open sky). Dichroic sources such as FAYs. Arcs lights with white-flame carbons (rarely used nowadays).cinematography238