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On Thu, 27 May 2010 02:28:08 +1200, Richard wrote:

> Sweetpea wrote:
>> On Wed, 26 May 2010 00:23:59 +1200, Richard wrote:
>>
>>>> I don't use mini fluros. The CRI rating is considerably inferior, and
>>>> they use considerably more energy to manufacture than do tungsten
>>>> incandescent lamps.
>>> Why do I care about the energy used to make them? The overall cost is
>>> lower even with the vastly lower than they claim lifespans they have.
>>
>> Their CRI rating is considerably inferior.
>>
>> http://www.apug.org/forums/forum40/5...r-spectrum-cf-
>> daylight-bulbs.html
>
> So they dont interact with obsolete photography technology well?
>
> How does that affect me when I dont own any film cameras, are not using
> them to photograph things and find they work perfectly fine when using
> the digital camera or mini dv camera under them?

Yes - I can see how you might consider the optics in a CAMERA to be
"obsolete technology".


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On Thu, 27 May 2010 02:29:20 +1200, Richard wrote:

> Sweetpea wrote:
>> On Wed, 26 May 2010 00:23:59 +1200, Richard wrote:
>>
>>> Hardly, 2700K is the accepted norm for it, lov voltage halogens are
>>> higher, perhaps 3500K, still well on the orange side of things.
>>
>> The most common/standard color temperature for lamps used in
>> performance lighting is 3050K to 3010K.
>>
>> When they're burning at their rated volts/amps I wouldn't call them
>> "orange".
>
> I would. compare one to outside daytime, and its orange.
>
> The only reason they operate at those temperatures is because thats
> about the upper limit for them with reasonable lamp life, much hotter
> and they die too quickly.
>
> Plus I am not putting on a stage show in my work area so interaction
> with the gels used for stage lighting is a non issue.

They're not "orange" when burning as rated. A pail very bright yellow
maybe, but not orange!


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On Thu, 27 May 2010 02:29:20 +1200, Richard wrote:

> The only reason they operate at those temperatures is because thats
> about the upper limit for them with reasonable lamp life, much hotter
> and they die too quickly.

http://en.wikipedia.org/wiki/File:Sp...tributions.png

Enough said.


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"Filtering the Internet is like trying to boil the ocean"

On 27/05/2010 10:54 p.m., Sweetpea wrote:
> On Thu, 27 May 2010 02:29:20 +1200, Richard wrote:
>
>> The only reason they operate at those temperatures is because thats
>> about the upper limit for them with reasonable lamp life, much hotter
>> and they die too quickly.
>
> http://en.wikipedia.org/wiki/File:Sp...tributions.png
>
> Enough said.
>
>
That's what white balance is for.
All the news studio shots you see on tv are lit by high cri studio
fluoros to give a flat soft light with low heat.
LEDs HMIs Xenon flash, all have spectral lines but their efficiency and
low heat is preferable to tungsten.
Useful info http://www.coollights.biz/index.php

CRT and LCD monitors have spectral lines too.

On Fri, 28 May 2010 01:30:06 +1200, victor wrote:

> That's what white balance is for.

And how does "white balance" work when you're trying to put a colour gel
in front of a lamp in order to produce a particular colour wash on a
performance area?


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On 28/05/2010 8:04 a.m., Sweetpea wrote:
> On Fri, 28 May 2010 01:30:06 +1200, victor wrote:
>
>> That's what white balance is for.
>
> And how does "white balance" work when you're trying to put a colour gel
> in front of a lamp in order to produce a particular colour wash on a
> performance area?
>
>

Your eye does it continuously.
Different light sources are different colours and there are all sorts of
correction gels available to compensate.
In film DPs use a combination of camera filters and correction gels to
match up different sources. They pick a reference: daylight flo hmi or
tungsten and correct to it with gels like Lee 249 and filters like
Tiffen FL-D and FL-B

Sweetpea wrote:
> On Fri, 28 May 2010 01:30:06 +1200, victor wrote:
>
>> That's what white balance is for.
>
> And how does "white balance" work when you're trying to put a colour gel
> in front of a lamp in order to produce a particular colour wash on a
> performance area?

Im not into putting colour washes onto my house. Perhaps if I had a
brothel, but I think the exact shade of red is not important for that

RBG LED can do all important shades, why not just use those? Oh yeah,
they are with DMX control and all sorts of things

victor wrote:

> Your eye does it continuously.
> Different light sources are different colours and there are all sorts of
> correction gels available to compensate.
> In film DPs use a combination of camera filters and correction gels to
> match up different sources. They pick a reference: daylight flo hmi or
> tungsten and correct to it with gels like Lee 249 and filters like
> Tiffen FL-D and FL-B

I just put it on manual and fire a shot in the empty light tent when it
matters

Otherwise fix it in photoshop, have to do that anyway to get the white
to saturate normally anyway.

On Fri, 28 May 2010 22:31:30 +1200, Richard wrote:

> Sweetpea wrote:
>> On Fri, 28 May 2010 01:30:06 +1200, victor wrote:
>>
>>> That's what white balance is for.
>>
>> And how does "white balance" work when you're trying to put a colour
>> gel in front of a lamp in order to produce a particular colour wash on
>> a performance area?
>
> Im not into putting colour washes onto my house. Perhaps if I had a
> brothel, but I think the exact shade of red is not important for that
>
> RBG LED can do all important shades, why not just use those? Oh yeah,
> they are with DMX control and all sorts of things

RGB LEDs are poor substitutes for a clean colour source.


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"Filtering the Internet is like trying to boil the ocean"

In article <htls4k$rc6$>, victor <> wrote:
>On 27/05/2010 10:54 p.m., Sweetpea wrote:
>> On Thu, 27 May 2010 02:29:20 +1200, Richard wrote:
>>> The only reason they operate at those temperatures is because thats
>>> about the upper limit for them with reasonable lamp life, much hotter
>>> and they die too quickly.
>> http://en.wikipedia.org/wiki/File:Sp...tributions.png
>>
>> Enough said.
>That's what white balance is for.
>All the news studio shots you see on tv are lit by high cri studio
>fluoros to give a flat soft light with low heat.
>LEDs HMIs Xenon flash, all have spectral lines but their efficiency and
>low heat is preferable to tungsten.
>Useful info http://www.coollights.biz/index.php
>CRT and LCD monitors have spectral lines too.

All studio shots ? I was interested to see that avatar used a lot of
what looked to me to be very flash led floods for at least one of the
indoor scenes. Multicolour, and bright as. I know that stage shows are using
more and more of the equivalent little led floods. I would have thought that
studios would also be going that way. Are they not ?
Yes, appreciate that there are still some things that are done better with
bloody great flood lights.