Digital Compositing

hello you all!

i need some help on this idea.

i am photographing interior shots of an office.

color film.
digital slr.
22-35mm lens.

i am seriously concerned about how the color balance and lighting
conditions are to be attacked.

there are windows scattered throughout the open cubicle-style office
and various types of lighting (flourescent, incandescent, daylight that
will be coming in from the windows)

i have a strobes set of two, slr digital camera, no filters, and
photoshop.

i am leaning on the idea of balancing the various types of lighting
conditions with my K color temp. digital manual controls and then
taking the images into photoshop and compositing them.

i'm not savy with my lights, color balancing, camera, or photoshop but
know a little about each of them.

can you help me please?

anything will do me well.

i thank you all out there.

sincerely,

O.

Purchase a copy of Katrin Eismann's "Photoshot Masking and Compositing" -
she'll show you exactly how to do all that you ask - along with a lot more -
in addition to some great examples.

opera wrote:
hello you all!

i need some help on this idea.

i am photographing interior shots of an office.

color film.
digital slr.
22-35mm lens.

i am seriously concerned about how the color balance and lighting
conditions are to be attacked.

there are windows scattered throughout the open cubicle-style office
and various types of lighting (flourescent, incandescent, daylight that
will be coming in from the windows)

i have a strobes set of two, slr digital camera, no filters, and
photoshop.

You say "film" above but "digital" here.

i am leaning on the idea of balancing the various types of lighting
conditions with my K color temp. digital manual controls and then
taking the images into photoshop and compositing them.

i'm not savy with my lights, color balancing, camera, or photoshop but
know a little about each of them.

can you help me please?

It's going to be evil. Mixed lighting is always very difficult to deal
with and the people who do this stuff full-time try to avoid it. They
do this by fixing the light. This involves things like putting gels
in light shades and replacing cheap fluorescent tubes with daylight
balanced ones. They also take their own lights to the shoot.

It is possible to do what you suggest, but be prepared for more than
one visit to the site.

Andrew.

In message ,
Andrew Haley wrote:

It's going to be evil. Mixed lighting is always very difficult to deal
with and the people who do this stuff full-time try to avoid it. They
do this by fixing the light. This involves things like putting gels
in light shades and replacing cheap fluorescent tubes with daylight
balanced ones. They also take their own lights to the shoot.

It is possible to do what you suggest, but be prepared for more than
one visit to the site.

It is also possible to use each light source (or type, if multiple
sources are used for a type) independently, in separate exposures, and
white-balancing them separately in RAW before compositing them, if there
is no motion involved.
--


John P Sheehy

Andrew Haley writes:

It's going to be evil. Mixed lighting is always very difficult to deal
with and the people who do this stuff full-time try to avoid it. They
do this by fixing the light. This involves things like putting gels
in light shades and replacing cheap fluorescent tubes with daylight
balanced ones. They also take their own lights to the shoot.

And putting conversion gels over the *outside* of the windows; in fact
there's a standard gel the gaffer truck has in it that's combined
daylight-to-tungsten and neutral density, to tone down the daylight to
the sort of level you light an interior location to. Very convenient!
--
David Dyer-Bennet, , http://www.dd-b.net/dd-b/
RKBA: http://noguns-nomoney.com/ http://www.dd-b.net/carry/
Pics: http://dd-b.lighthunters.net/ http://www.dd-b.net/dd-b/SnapshotAlbum/
Dragaera/Steven Brust: http://dragaera.info/