“I hate mixed lighting, particularly if the clients expect white whites, black blacks, and normal skin tones from the scene. If they want a weird, affected look, no problem. That’s baked in.
You can skew the controls right off the cliff in an attempt to normalize everything, but the reality is that the sensor (or the emulsion) will be clipped and/or starved in different directions simultaneously, so the color response winds up being so non-linear, the fixes won’t work at all exposure levels. When I’m presented with crap like that, we either go with an affected “stylized” look, or I warn the client, “this will never look 100% normal, but I’ll make it look better.” That much I can do.
Mixed lighting can create very interesting looks that work completely when you buy into that situation. I just watched the Blu-ray of 10 Cloverfield Lane, and thought it was brilliant: tungsten table lights and florescent overheads in many shots, some that go on for 15-20 minutes. It made the film creepier and made you feel more uneasy as time went on. “Normal” was not the look they were going for, and it can work great for a suspense film.
Her er 3 eksempler på film hvor det virker.
LUXI og Cinemeter II ap’en til iphone er løsningen til at kunne måle lysets farve. Ganske nemt.
Det kan selfvfølgelig til dels løses, men man er næsten altid sikker på at billedet opfører sig funky og resultatet kan varierer voldsomt.
Her er en tutorial som prøver at fikse problemet men resultatet kan man diskuterer…