> � You need to light-meter the set to see the actual range of lighting to set
> your mid-grey point.
I do this as a matter of course.  The point I was making is that if you do
this, the surroundings disappear into darkness, whereas film seems to be
much better able to handle the difference in contrast between the set and
the rest of the room.  I also find that there are often point light sources
that are in shot, and the high intensity areas of light in front of these
sources (smoke/haze filled rooms, so it shows ++) take on a totally
unrealistic appearance.  There is no smooth gradation from burned out areas
to ok areas that you would get with film....instead you get weird areas
where the sensor appears not to have been able to cope at all with the
intensity, and then sharp edges where it can cope with the contrast.

> � Then make an accurate in camera white-balance to get the colours right.
How would you suggest doing this in a situation where there is masses of
different coloured light kicking around?  For example, if I did a white
balance on the last set I did, it would have thrown everything about as far
from how the lighting guys designed it to look.  There is nothing on this
type of set that is designed to look white.

> � Is the scene lit for shooting cine-neg stock or digital video? as they are
> two totally different animals.
It's lit to look good to the human eye.

I always shoot RAW files and tweak them afterwards, and I usually use the
preset tungsten WB if the primary light sources are indeed tungsten.
However, after many hours adjusting these images, either in CaptureOne or
Photoshop, it's proving impossible to get them to look anything like
reality.  The sensor seems to be way more sensitive to any hint of red or UV
that's kicking around.  I'm learning to look at lighting situations hyper
critically and where there's even a hint of red (barely imperceptible to the
eye) you can guarantee that any blues will be turned pink/purple.

Any more suggestions gratefully received.

Jo 

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