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Video Shooter Second Edition Storytelling With HD Cameras

Video Shooter Second Edition Storytelling With HD Cameras

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Published by Luis Bond

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Published by: Luis Bond on Jul 20, 2012
Copyright:Attribution Non-commercial


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While scavenging through the trash of Rocky XXII, you might also avail yourself
of other forlorn gel lying amid the detritus. These scraps can help outfit your jelly
roll – an elastic pouch that is one of the most valuable pieces of gear you can
own (Fig. 9.35). My 12-in. jelly roll contains an assortment of diffusion, color-
correction, and “party” gel gleaned from various trash cans over the years.

For color correction, I keep on hand a range of CTB 3

(blue) gel, from one-quarter
to full blue, the latter ostensibly but not quite converting a tungsten 3,200° K
source to daylight.

CTB is the most used gel in my kit, as tungsten sources must frequently be
“blued” to add texture when backlighting talent or to represent the effect of
daylight or moonlight spilling into a scene. Typically, I add only a hint of blue,
e.g., “half blue,” to reflect a cool source in or out of frame. In most cases, I don’t
transform a tungsten source completely to daylight because I want to preserve
the feeling of mixed light sources as we perceive and experience them in life.
Conversely, when working with HMI or LED sources in tungsten conditions,
I add a half CTO (orange) gel to alleviate the blue cast while still preserving the
daylight feeling streaming from an exterior source. In fact, I often mix warm
and cool lighting in my scenes, painting with CTO and CTB gel to add texture
while maintaining the faithful interplay of light emanating from warm and
cool sources.

Although full CTB is intended to convert 3,200° K tungsten sources to daylight,
the effect in practice is quite a bit less than that when compared with actual day-
light or the output, say, from an HMI. If true daylight balance is your goal (and
it may well be), an actual HMI, LED, or color-correct fluorescent is required.
Also, due to high heat absorption, the full blue CTB is subject to rapid fading,


I never leave home
without my jelly roll!
At least one replete
with 10–20 sheets
of diffusion, color-
correction, and party
gel should be a part of
every shooter’s basic



= Color Temperature Blue; CTO = Color Temperature Orange.

Making Light of Your Story CHAPTER 9


so the wise shooter is sure to include extra sheets
in his kit.

In addition to diffusion and color correction,
the third variety of gel in a shooter’s jelly roll
is the “party” type often used to add a splash
of color to otherwise sterile scenes. These gels,
like the swatches of paint in an artist’s pal-
ette, reflect a shooter’s own creative impulses.
In my roll, I keep an assortment of violet and
rose gel to add color and/or texture to back-
grounds, especially in corporate environments
that tend to lack visual panache. The deep crim-
son is one of my favorites, instantly injecting
intrigue, if not full-scale alarm, into any scene.
A little goes a long way, however, so shooters
should use such heavy effects sparingly, and as
always, with utmost good taste and attention to
one’s overall storytelling goals.

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