I'm a high school student and I was wondering how do you choose a gel to use in a production? I have a Roscolux swatchbook. I get how you think of the scene and the mood / feelings that you want to get across. If I want "anger", I want a red, but how do I choose which one?
Choosing a Gel
- Thread starterNewChris
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NateJanota
Member
I work more in the non-theatrical side of lighting, but I can without a doubt say that this check-sheet will help you make your decisions: Choosing Colour
At the end of the day, remember that a lot comes down to creative/design choice and aesthetic. If you're just starting out, it's a good idea to err with more delicate/less saturated or dramatic colors, so as to avoid making a stage look that is clashing and confusing. If you can stay towards the more neutral range starting out, you can correct your mistakes as you learn and adapt your gel choices. A bastard amber will be easier to correct than a party yellow, for example.
At the end of the day, remember that a lot comes down to creative/design choice and aesthetic. If you're just starting out, it's a good idea to err with more delicate/less saturated or dramatic colors, so as to avoid making a stage look that is clashing and confusing. If you can stay towards the more neutral range starting out, you can correct your mistakes as you learn and adapt your gel choices. A bastard amber will be easier to correct than a party yellow, for example.
I find that it's a difficult thing to find the right color and gobo choices sometimes because, like you said, you have to find the "right red" from all of the choices available. But if you really look at the colors, you'll find that they are all different from each other, and that difference is critical. In your scenario, if the red that you choose is say, slightly too pink, then the angry mood might not completely be conveyed. What I like to do is narrow down to 3 or 4 colors that I'm trying to pick from and then work from there by comparing them directly. The best resource is Rosco's color booklet and/or the website to see what they recommend and what other designers have used in the past. Also, pay attention to the transmission % on the swatchbook. Some colors are very deceiving in that they don't look that saturated, yet have a transmission % of like 14%, which depending on the application could be a problem.
Another thing to consider. So if you want an "angry" red, then you have to consider both the way that the color itself looks and works to convey that angry feeling, and how it works with the other colors that you have. For example, if you have 2 systems of light from the same angle, a warm and cool, then you want to pick colors that look nice when mixed together.
Another thing to consider. So if you want an "angry" red, then you have to consider both the way that the color itself looks and works to convey that angry feeling, and how it works with the other colors that you have. For example, if you have 2 systems of light from the same angle, a warm and cool, then you want to pick colors that look nice when mixed together.
lwinters630
Well-Known Member
It is not as easy as looking at the swatch and saying I like this one. Light is a reflected value therefore shinning red on a green wall or costume will not give you that angry look. Instead they may turn black. Shinning on a orange or purple wall will give totally different results.
Mixing colors from two fixtures and angles will have other effects. If my scenery has spatter paint in two colors I can pull one out and push the other back by choosing the curtain colors for certain scenes.
You can read a lot in books (or online) and I suggest you do, but trial and experimenting will help you understand more.
Mixing colors from two fixtures and angles will have other effects. If my scenery has spatter paint in two colors I can pull one out and push the other back by choosing the curtain colors for certain scenes.
You can read a lot in books (or online) and I suggest you do, but trial and experimenting will help you understand more.
rustystuff
Member
Both Lee and Rosco give suggestions on color usage on their websites. Rosco gets very technical on theirs; while Lee (IMO) is a little easier to comprehend for those just learning this art.
Lee Filters: http://www.leefilters.com/lighting/colour-list.html
Rosco Filters: http://www.rosco.com/filters/roscolux.cfm#colors
Lee Filters: http://www.leefilters.com/lighting/colour-list.html
Rosco Filters: http://www.rosco.com/filters/roscolux.cfm#colors
rustystuff
Member
I didn't mean to leave them out; I just clicked on the "Post Reply" button too quick!
(How could I leave them out, especially after reading gafftaper's great "Classy Apollo" post...)http://www.internetapollo.com/support/colorfilterreference.aspx
JChenault
Well-Known Member
One method that I sometimes use is as follows:
Typically you will have a 'warm' and a 'cool' color on the face / body. This gives you shadows of color so the three dimensionality of the face is enhanced. So how do you find the right pair of colors?
One way is first to think of what is 'white' for the show. If I am doing something that is cold and harsh, I might make 'white' be a pale blue. If I am doing an opera set in Spain 'white' might be a strong amber. Spend some time thinking about what color you want 'white' to be. You probably do not want to use a very saturated color for 'white' as this will look very unreal. Then you pick a slightly warmer and slightly cooler version of that color for your key and fill lights.
Now how do you select 'white'. Read the script. If it is realistic - what color would be most appropriate for that realism? If you want to emphasize the emotional or mood aspect - what color best reflects that mood? One way to do this is to simply get a small flash light, shine it through the swatch book, and see how the color impacts your mood.
As to 'Anger being red' Maybe. But is it a cold anger that has been pent up so long that it has seeped into the characters and the plays personality, or is it the hot steaming anger of a man attacking his best friend because he finds he is having an affair with his wife? And not that you don't want to light just for the climactic scene - you want to support the entire show so a better question might be what is the dominant mood of the show.
So play with it. Try different colors. If you don't like what you have - try something else. Thats how you learn.
Have fun,
Typically you will have a 'warm' and a 'cool' color on the face / body. This gives you shadows of color so the three dimensionality of the face is enhanced. So how do you find the right pair of colors?
One way is first to think of what is 'white' for the show. If I am doing something that is cold and harsh, I might make 'white' be a pale blue. If I am doing an opera set in Spain 'white' might be a strong amber. Spend some time thinking about what color you want 'white' to be. You probably do not want to use a very saturated color for 'white' as this will look very unreal. Then you pick a slightly warmer and slightly cooler version of that color for your key and fill lights.
Now how do you select 'white'. Read the script. If it is realistic - what color would be most appropriate for that realism? If you want to emphasize the emotional or mood aspect - what color best reflects that mood? One way to do this is to simply get a small flash light, shine it through the swatch book, and see how the color impacts your mood.
As to 'Anger being red' Maybe. But is it a cold anger that has been pent up so long that it has seeped into the characters and the plays personality, or is it the hot steaming anger of a man attacking his best friend because he finds he is having an affair with his wife? And not that you don't want to light just for the climactic scene - you want to support the entire show so a better question might be what is the dominant mood of the show.
So play with it. Try different colors. If you don't like what you have - try something else. Thats how you learn.
Have fun,
