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Here's a video to demonstrate the fact that color temperature of lighting is not the only important factor when lighting for video or still photography. Color Rendition (the CRI), is also equally important due to the dyes used in various fabrics and paints. This also will give gaffers or directors of photography or photographers an idea of why lighting with LED lights (which have a very constrained CRI range) doesnt create the same effect. It also explains why lighting with things like KinoFLOs and HMI still do not produce the same results as true sunlight (KinoFLOs with daylight bulbs and HMIs), nor the same results using KinoFLOs with "warm" bulbs compared to using tungsten lighting.
This also demonstrates a few other things...
(1) Why Captain Kirk's tunic seems to be different colors in different scenes (it's avacado, folks. period.)
(2) Why many companies that try to make authentic Star Trek TOS uniform tunics (or tunics for the Star Trek movies or other shows) dont quite get it right... it's not just the color of the fabric that's important; the dyes used (ie: 10% green, 35% red, etc) is equally important, or the fabrics will not appear the right color under each different type of light.
@bigsky780 Yeah, changing sunlight is really difficult to work with for certain fabric dyes. Sadly, the only thing I've figured is heavy on silks and nets to cut the sunlight a lot in the shade, and then using some HMIs to recreate the sunlight and shade. But of course, in the golden hour, that doesn't quite work without more adjustments.
I recently lit a series of vids that were shot starting at noon, straight into darkness. Fun stuff trying to keep the lighting consistent.
RobertMfromLI 2 months ago
I've run into the same issue recently. I've had a navy hat look black going from shade to full sunlight. Very difficult to correct.
bigsky780 2 months ago in playlist Lighting for Film & Video