FIM FUNDAMENTALS OF FILMMAKING CINEMATOGRAPHY

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1 Color Temperature and Filters SCHOOL OF FILMMAKING 1533 S. Main Street Winston-Salem, North Carolina FIM FUNDAMENTALS OF FILMMAKING CINEMATOGRAPHY So what is color temperature and why is it so important? In 1900, a German physicist by the name of Max Planck discovered that a black body, such as a piece of iron, gives off various colors of light as it is heated. For example, imagine a piece of iron heated in a blacksmith s furnace: the iron starts off black but begins to glow red when it is placed in the coals. As the temperature rises, the iron goes from red to yellow until it eventually glows bluish-white as it reaches its maximum temperature. Planck took his discovery and developed what he called Planck s radiation formula, which defined a standard for the color of light based on the temperature of a theoretical black body measured in degrees Kelvin. Because of this standard of measure, which we now call color temperature, we can accurately identify, match, and compare different colors of light. For example, candlelight has a color temperature of 1850 K, while a 1000W incandescent Tungsten lamp has a color temperature of 3200 K. Sunlight has a color temperature of 5600 K. If we think back to the iron being in the blacksmith s fire, the candle would be in the red zone while the 1000W incandescent Tungsten lamp would be more yellow, and the sunlight would be approaching blue. Color temperature is important to understand, because digital and video photography want light sources of the same color temperature illuminating a scene for accurate reproduction of colors. Some other Color Temperatures Light Source Match Flame Candle Flame Sunrise/Sunset Household Tungsten Bulbs Tungsten Studio Lights Quartz Lights Fluorescent Lights Early Morning or Late Afternoon Direct Sun at Noon Average Daylight (Sunlight + Skylight) RGB Monitor Overcast Sky Color Temperature K K K K 3200 K K K 4300 K K K 6500 K 6000 K 1

2 Filters 3 Key Categories The easiest way to understand the world of filters is to group them by function. Almost every filter falls under one of the following 3 categories: Chromatic, Non-Chromatic, and Special Effect. Chromatic (color) filters are used to change, alter, or balance the color content of light. Chromatic filters include several sub groups all of which affect color in some way or another: color compensating, color conversion, color enhancing, color balancing, and black-&-white contrast effects. Non-Chromatic filters are used to change or modify the behavior or intensity of light. This group includes: polarizers, NDs, UV-absorbing, and optical flats. Special-Effect filters are used to change or modify the physical aspects of the image. This category is quite diverse and includes many groups: diffusions, mists, frosts, low cons, fogs, star effects, center clears, diopters, and multi-image attachments. With the use of certain filters we can alter the color temperature of the light source. NOTE: ALL IMAGES ARE FROM THE TIFFEN FILTERS WEB SITE. Chromatic Filters Color Conversion There are basically two types of light sources used for filming Tungsten Light and Daylight. Tungsten - (3200 K) Standard studio lighting fixtures are called TUNGSTEN LIGHTS because originally the filaments in all studio lamps were made of tungsten. Tungsten balanced lights have a color temperature of roughly 3200 K. Film labeled "Tungsten" is designed to reproduce light of 3200 K as white. 2

3 Daylight - (5600 K) Daylight is generally considered to have a color temperature of around 5600 K, although various sources sometimes put it at 5400 K or 5800 K. This reading is an average of both direct sunlight and skylight taken at midday. Any film labeled "daylight balanced" is designed to reproduce light of near 5600 K as white. Conversion Filters All color films come balanced for use in either daylight or tungsten light. By using a conversion filter you can use either film in either lighting situation and still achieve a proper color balance. CONVERSION FILTERS are filters designed to convert one color balance to another. Since there are two major types of color balance (tungsten and daylight) there are two major conversion filters for use in either situation. 85 FILTER The #85 Filter corrects the color when using tungsten balanced film in daylight. Light entering the filter with a temperature of 5600 K (daylight) leaves the filter with a temperature of 3400 K (tungsten). The filter appears amber or orange in color because it "warms" light passing through it. Since not all of the light which enters the filter leaves it (some blue light is absorbed and prevented from passing through) there is a certain amount of light loss associated with this filter and an adjustment must be made in the exposure of the film. When using a #85 filter an exposure compensation of 2/3 of a stop is required. When shooting with film, the #85 filter is probably the most commonly used filter. 80A FILTER The #80A Filter - corrects the color when using daylight balanced film under tungsten lights. Light entering the filter with a color temperature of 3200 K (tungsten) leaves the filter with a temperature of 5600 K (daylight). The filter appears blue in color because it "cools" the light passing through it. Because a #80A filter absorbs so much more light than a #85, when using a #80A filter an exposure compensation of 2 full stops is required. Without 80A Filter With 80A Filter 3

4 Because a #80A filter eats up so much light, and because there is usually so much more daylight available outside, from the sun, than there is tungsten light available inside, from the less powerful studio lights, most motion picture film is balanced for tungsten illumination. For this reason the #85 filter is used much more frequently then the #80A. Coral Filters Enhancing Filters In order to "warm" up a scene, a director of photography may use a coral filter on the camera. This may be done when filming a sunset or a fireside scene in order to make the scene appear slightly warmer. Another use of the coral filter is when filming outside in daylight. Because the color temperature of daylight changes from early morning to late afternoon, the director of photography may use a specific coral filter along with, or in place of, the 85 filter to give the scene a slightly warmer look. Coral filters come in varying densities and an exposure compensation is required based on the density of the filter. In order to create brighter reds, oranges and rust browns when filming, a director of photography may use the enhancing filter. While creating spectacular effects on the reds and oranges in the shot, it has very little effect on other colors. This filter is especially useful when filming fall foliage. The enhancing filter requires an exposure compensation of 1 1/2-2 stops. Without Enhancing With Enhancing 4

5 Without Enhancing With Enhancing & Polarizer Graduated Filters Sometimes we only want to alter a portion of the frame with a specific filter. To do this the director of photography would use a graduated or grad filter. Only half of the filter contains the specific filter while the remaining half is clear. For example we may use a Neutral Density Grad or a Coral Grad for certain effects. Some graduated filters also come in varying densities. Without Blue Grad With Blue Grad Without Blue Grad With Blue Grad 5

6 Non-Chromatic Filters Neutral Density ND3 ND6 ND9 NEUTRAL DENSITY FILTERS (ND's) are used to reduce the amount of light reaching the film or the sensor if shooting in the digital format. This is often necessary when shooting outdoors under extremely bright conditions. It may be that the existing light would require you to stop down to an T-stop greater than the lens has. As an example: Let s say you're shooting at the beach on a bright sunny day with EI 200 film. It would not be unusual to have need of an T-stop around T-22 or even T-32, but most lenses only stop down to T-16 and high speed lenses only to T-11. A neutral density filter would block some of the bright light before it gets to the lens and allow you to continue shooting at a suitable aperture. Another use of ND Filters is to reduce the depth of field by allowing us to shoot at a wider aperture. This is often done to throw a background out of focus or to get a more pronounced "rack focus" effect at a specific moment in the shot. Whatever the reason, ND filters can often be used to reduced depth of field. ND filters use a numeric designation to indicate how much they reduce the exposure. These ND numbers are each equal to one EI increment (1/3 of a stop). Three ND values are equal to one full stop. The most commonly used ND filters are the full stop increments, ND3, ND6 and ND9. When using these, you must remember to adjust your exposure accordingly. The ND 3 requires an exposure compensation of 1 stop, the ND6, 2 stops and the ND9, 3 stops. Without ND6 Filter With ND6 Filter 6

7 Polarizing Filters POLARIZERS are used to reduce reflections from shiny, nonmetallic surfaces such as glass, water or wet pavement. A polarizing filter can be rotated to block light traveling along a given plane, greatly reducing or even eliminating reflections from that surface. Polarizers do their best at reducing reflections when the camera can be positioned at an angle close to 45 o to the object being photographed. Without Polarizer With Polarizer Without Polarizer With Polarizer In addition to reducing reflections, polarizers may be used to darken the sky at certain angles to the sun. Much of what we see as blue sky is actually composed of sun light reflected by air and dust particles. A polarizer can reduce some of these reflections and give the sky a darker appearance. Polarizers work best on areas of the sky which are near 90 to the sun. When using a polarizer filter, you must adjust your exposure by 1 1/2 to 2 stops. Check the polarizer you are using in order to know exactly what your exposure compensation should be. 7

8 Without Polarizer With Polarizer Optical Flat (Clear) A special filter, which should be included in every camera package, is the optical flat. It is an optically corrected, clear piece of glass which has many uses. Many times during filming there may be something being projected towards the camera for the particular shot. The optical flat may be placed in front of the lens to protect it from the projectile. You also may be shooting in windy situations where dust and dirt may be blown towards the lens or if on the beach, water may be blown towards the lens. The optical flat will protect the front element of the lens from these objects. In addition, the optical flat can be used to cut down on the noise level of the camera. Much of the noise from the camera comes out through the lens. By placing an optical flat in front of the lens, you can reduce this noise and achieve a quiet sync sound take during shooting. So, if the sound mixer asks you to place an optical flat on the camera, it usually means that he is hearing some camera noise through the microphone. Special-Effect Filters Diffusion Filters When we talk about diffusion filters, there are many types and styles of filters that we are referring to. A general definition of a diffusion filter is, a filter which is used to soften the image or look of the picture. A diffusion filter is usually made of glass containing a rippled surface which prevents the light from focusing sharply. It will produce an image where fine details are not clearly visible. Some diffusion filters give the appearance that the image is out of focus. One of the most common uses of diffusion filters is to soften any facial blemishes on an actor or to help soften the image of an actor or actress who has many wrinkles in their skin. Some names of the most commonly used diffusion filters are, Tiffen Diffusion, Harrison & Harrison Diffusion, Black Dot Texture Screen, Black Pro-Mist, White Pro-Mist, Soft Net, Net, and Supa-Frost. Two very popular types of diffusion filters being used today are the Tiffen Black Pro-Mist and White Pro-Mist. The White Pro-Mist softens the image without causing it to appear out of focus. It also spreads light slightly by creating a small amount of flare from light sources and it will slightly reduce the contrast. The Black Pro-Mist softens the image with a more subtle flare from light sources and slightly reduces contrast by lightening shadows and darkening highlights. Soft Nets and Nets actually are in a separate category called nets. A net may be any fine mesh type material which is placed on the camera and acts as a diffuser. In the early days of filmmaking, many Directors of Photography would stretch a stocking material over the front of the lens to create the diffusion effect. With the exception of the Black Dot Texture Screens and some nets, diffusion filters require no exposure compensation. All diffusion filters are available in sets ranging in density from very light to heavy diffusion. Through experimentation and use of the filters, a director of photography usually knows which filter to use for a specific application or effect. 8

9 Without Diffusion Without Diffusion With Pro-Mist 2 With Pro-Mist 3 Fog Filters and Double Fog Filters In order to simulate the effects of fog we would use what is called a fog filter or double fog filter. In a real fog situation, the fog causes lights to flare and this is produced by the fog or double fog filter. The fog filters are also available in sets ranging in density from very light to very heavy. No exposure compensation is needed when using these filters. Without Fog With Fog 3 With Double Fog 3 9

10 Low Contrast Filters In order to lighten the shadow areas of a scene, a director of photography may use a low contrast filter on the camera. This causes the light from the highlight areas of the scene to bleed into the shadow areas which produces a lower contrast. In other words, it lightens the shadows without affecting the highlight areas. They do not soften the image or make it appear out of focus like diffusion filters do. As with diffusion and fog filters they are available in varying densities. No exposure compensation is required for these filters. Soft Contrast Filters A director of photography may also use a soft contrast filter to lower the contrast in a slightly different manner. It is different from the low contrast filter because it darkens highlights without affecting the shadow areas. They are also available in varying densities. No exposure compensation is required for these filters. Ultra Contrast Filters Another way to lower the overall contrast of a scene is to use the ultra contrast filter. This filter lowers the contrast evenly throughout the scene by equally lightening the shadow areas and darkening the highlight areas. They are available in varying densities and require no exposure compensation. Without Filter With Utra Contrast 3 10

11 Star Filters STAR FILTERS are used to produce lines from bright objects (point sources) in the scene to produce star like effects. The surface of the filter has lines etched into it which run in the direction of the star points. Depending how many lines are etched you may have 2, 4, 6 or 8 pointed stars (4 and 6 are the most commonly used). Because the lines form a texture screen star filters tend to act as diffusers and often "soften" shots they are used to photograph. As with other texture screens, care must be taken to avoid getting too much depth of field and focusing on the filter itself. No exposure compensation is required for star filters. Without Filter North Star Hyper Star Vector Star Holywood Star There are currently over two hundred types of filters available for your use. The above named filters are only a sampling of what may be available to the cinematographer. This small listing is intended to give you a basic understanding of the most commonly used filters. 11

12 Filter Sizes Filters are manufactured in a wide variety of sizes and formats for use in many types of media, with different aspect ratios, different types of lenses, cameras, etc... COMMON FILTER SIZES 6.6 X 6.6 Square 4 X mm Round 4.5 Round 4 X 4 Square 3 X 3 Square Series 9 Round Filter F-Stop/T-Stop Compensation (Open Aperture) Filter F-Stop/T-Stop Compensation (Open Aperture) 85 2/3 80A 2 85 N3 1 2/3 80B 1 2/3 85 N6 2 2/3 80C 1 85 N9 3 2/3 81A, 81B, 81C 1/3 LLD 0 81EF 2/3 ND /3 ND A 1/3 ND B 2/3 Polarizer 1 ½ B 2/3 Optical Flat 0 85C 1/3 Enhancer 1 Diopter 0 FLB 1 UV 0 FLD 1 Sky 1-A 0 Fog, Double Fog 0 Haze 1 0 Contrast (Low, Soft, Ultra) 0 Haze 2 0 Black Dot 1 Warm UV 1/3 Pro Mist 0 Soft Net 1/3 2/3 Warm Pro Mist 1/3 Coral, Sepia Based on Density Soft F/X 0 12

13 COMPARISON OF FILTER SIZES The following is from the Arri 35 Book, Second Edition by Jon Fauer, published by Arriflex Corporation,

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