Hey gang...
I'm wondering about a way to deal with the challenges of mixing types of light...
We have the usual assortment of types of instruments... tungsten, flos, and HMIs. There are inevitable times when we have to mix-n-match, and run into the usual color temp difference issues.
When mixing tungsten and HMI, usually we are just using one 1200w HMI as a key and using the tungstens for other things.... backlights, fillers, specials, etc. I have blue glass filters for all of my tungstens, but of course they render an instrument almost useless since they cut output so drastically. Similarly, I have some blue "daylight" umbrellas, but they cut the output to almost nil as well. So I resort to what many people do, I suppose... throwing some gel on the HMI and clipping it to the barndoors with a few C47s. It works fine, balance is always good, and the output reduction is minimal.
But... I was just thinking....
Whenever we use that configuration, we are almost always bouncing that HMI... usually onto a white 4x4 bounce card in a Quaker clamp on a C-stand, the usual setup. But, what if the card wasn't
white? If we could find some 4x4 foamcore of the appropriate color (light yellowish-orangish) then we wouldn't have to gel the instrument. It'd be the same results, just one less step to deal with. I guess it'd be similar to those pop-up reflectors that you can get with gold on one side.
Any downsides to this?... other than finding the exact right color for the bounce? Or is this just a solution in search of a problem?
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
