[Tig] D.I and 6500k

Rob Lingelbach robling
Fri Mar 4 17:17:41 GMT 2005

On 2005-03-04 at 10:56, Geoff Boyle (geoff at cinematography.net) wrote:

> MO> Cem, the reason for this is that most movie projectors have a light 
> MO> source that is about 5400 Kelvin. Whites therefore are yellower than
> MO> they would be at 6500K, and the DI suite has to match these viewing 
> MO> conditions.
> I guess that it wouldn't have anything to do with the fact that the
> person originating the images works with 5600 as their base white.

It could be time to revisit the subject of "what is base white" or
"what is sunlight."   I heard or read once what may be an apocryphal
story that the 6500 Kelvin figure comes from a measurement made on a
certain day in October of a certain year at location Washington, D.C.,

Regarding Mike Orton's comment about the clarity of light in New
Zealand, it's true that as a colorist one notices the differences in
the quality and temperature spectra of the air and light in various 
locations around the world, and in the case of Los Angeles, even among 
different neighborhoods.  I had a lot of fun through the years guessing the
locations of shoots based on the amount of haze or particulates in the
air as represented on the film.  I could tell when I saw an LA-based
film that had realtively clear and blue light (depending on time of
day) that the shoot was done, for example, in Irvine, where smog is
less of a problem.  Pasadena was always easy to pick out as a location
because of the warmer (smoggier) appearance of the air.  This isn't
always due to industrial smog or pollution because even when only American 
Indians lived in LA the LA basin was called "The Valley of the Smokes" 
because of the trapping and inversion effects of the San Gabriel mountains 
and the prevailing onshore breeze.  Probably there were numerous fires
for cooking and heat at the time... and BRRE analysis.

Senior Colorist, Compugraf
Istanbul, Turkey

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