Custom cyan filter for Sola Pro lights

Hi Everyone,

I recently purchased Sola Pro 15K video lights at a pretty substantial discount making the lumen to dollar value far better than Keldan. Unfortunately, Light & Motion doesn't have any sort of cyan filter like Keldan has for their lights. Has anyone made their own cyan filters for video lights and if so, what are using for the filter?

Thanks!

There is a whole set of dissertations on my blog and on my youtube channel various test videos. Have a look there is a long subject and requires understanding of how camera filters and light filters work in combination

19 hours ago, Interceptor121 said:

There is a whole set of dissertations on my blog and on my youtube channel various test videos. Have a look there is a long subject and requires understanding of how camera filters and light filters work in combination

Awesome, I will check it out!

Hi, I have started experiments using Lee filter gels, I read Intercepter121's excellent write up on the subject.

Taking the above as a start, I acquired a Lee filter sample set (designer edition) , and compared the gels with some commercial  underwater camera lens filters.

I found by experiment the nearest lee filter that was opposite to my camera filters, so I could add to my video lamps. That worked well.

So once I had the video light gel, I reverse engineered  the opposite lee filter that was visually very similar to the camera purchased filters.

I have tried and used a 58mm Kood magenta filter (sold for green water correction)  on my Gopro (easier to play with for now) and matched it to a Lee Plus Green 244. With that on the  video Lamp and Kood Magenta on the camera,  it worked well in practice. (I use this currently)
I have so far left the GoPro on auto white balance, This tends to jump a lot so i will set GoPro to protune and dial in say daylight 5600k. 

The nearest Lee (Magenta type colour) to match the Kood magenta that I could find, is Lee  Pretty N Pink 794. This is very slightly more dense than the kood. This means the Lee Plus Green 244 wasn't quite correct to balance for ambient. The Lee Pale Green 138 matches the Lee Pretty N pink 794 spot on.

So next dive Ill try Lee Pretty N Pink 794 on camera, and Lee Pale Green 138 on video lamp. As it is slightly more dense , Ill have to see how it fairs in real sea water environment. Understanding the "green" in UK water varies, I hope it will not be a issue, perhaps better?

My starting point was to use a commercial U/W camera filter, this got me into approx the right colour correction place.

I made up gel holders using two 67mm UV fliters and put the gel between them. Drilled vent holes so they flood ok. The filter screw onto my lamps. I fixed 67mm mounts onto the lamps. 

The gels work ok in sea water, no issues. The camera lens  gel goes behind the camera lens or in-front depending.

I have  done the same for blue water, and will verify my Lee filter colours on next trip when ever that is. 

Hope that helps.

Pic shows the camera Kood 58mm magenta, and the lamp green Lee Plus Green 244

 
Pic shows the camera Kood 58mm magenta, and the lamp green Lee Plus Green 244
 

On 3/11/2021 at 9:05 PM, OwenF said:

 

Would you be able to share the details of how you created the 67mm filter mounts on your lights? What lights are they etc?

I’m also interested on what depth range you have tested these filter combinations. Am I right you have used these in UK green water?

Are the threaded camera filters on a DSLR?


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Hi

  I've since found Lee Pale Green 138 to be slightly better.  have a look at my article.  http://underwaterwillett.com/ambient filters.html

I've glued  step up rings onto the front of my video lamps, they then have 67mm threads on the front, I put a gel behind a UV filter to hold the gel in place, drilled small holes in step up ring so air trickles out. ( or just unscrew at start of dive to fully flood it. PM me

This video used ambient filters 

This video was using ambient filters on the lights. 

Image shows UV filter used to hold in gel to video lamp

in general the filters have to match each other that is the most important aspect

I have studied the absorption curves and this is how you find your match

I have a whole load of rolls in my loft including green water but I do not even remember what I set it on

The filters used for green water have higher transmission however the number of particles etc makes it really suitable only for close up work and therefore it is questionable if this is the right path as once you are close there is no benefit over just using lights

Ambient filters are for wide shots where subject come towards the light they are not for widespread general use nor close up work