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If the menu system of the camera doesn't have some controls over the color of the LCD screen, using color bars to set it up, there isn't much you can do without a professional monitor to check the color precisely.

It may look interesting to have a tungsten-lit foreground with a blue-green fluorescent mixed with blue daylight background.

It would probably be faster to first tell us how much you have to spend on the camera...

Sorry, don't remember how to get to the "hidden" menu options on the 790. I recall the access being in the corner of the menu screen on the F900. Maybe the Maintenance or User Manual tells you.

"Atonement" was lit and exposed for that look. ND filters just reduce overall exposure, they don't make hot areas hotter in relation to dark areas. As for Polas, if there is no reason to use them, then you don't use them. I didn't see many shots in "Atonement" that would have required a Pola...

Well, obviously you are trying to do the right thing, which is separate the key on the subject from the light on the background so they can be different colors. If the light on the background is too orange, then use less orange gel -- or try putting the light on a dimmer instead to warm it up...

Should be fine unless it is transferred too hot or something, but there is definitely detail on the negative three-stops over. You may find the opposite problem, the transfer may be too dark because the colorist decided to make the hot areas closer to normal-looking.

Well, you just described one of the hardest thing for a cinematographer to do, light a moving shot but make it look nice. You spend a lifetime trying to figure out how to do that. Getting the levels right is the easiest part -- if the scene is entirely lit artificially, you just adjust the...

Maybe you can explain better what you are trying to achieve. What is "dynamic lighting"? Usually that term describes light that is being changed during the shot, like by panning it around, turning it off and one, etc.

You can white balance in the field to get closer to the color you want, or use filters and gels. You can adjust the black level when necessary. It all depends on how much manipulation you really need to do in the field. I would keep thing simple. If you're handling all the camera and lighting...

You have to think of it this way -- when you shine a light through a piece of diffusion, the diffusion itself becomes the source of light on the subject. And basically the softness of that light depends on its SIZE relative to the distance to the subject. This assumes that the light fills the...

Here are some samples from movies I've shot. The first one was more or less available light, exposed for the light falling through the window, so the outside view is probably three or four stops overexposed: Then I had an angle looking straight at the windows, so rather than use the natural...

Depends on the look I want and the mood I'm trying to convey. Maybe two people in profile, nearly silhouette, is what I want. Maybe two people against a bright blown-out window is what I want. Maybe I want them balanced because something is happening outside the window that I want the audience...

Yes, if you gel the tungsten to match the daylight, now everything is 5500K and will be blue-ish on the negative unless you put an 85B filter on the camera to correct it overall to 3200K. Or you can correct the blue out in post by shooting the grey scale under the same blue light and having the...

Well, there is no 250T Kodak stock so I'm going to assume you mean the 200T stock, 7217... If you have real daylight coming in, and you want to match your tungsten lights to that, you have to either gel the windows with Full CTO or Sun 85, or gel the tungsten lights with Full CTB (and thus lose...

A CalColor Cyan 60 would probably be a better color to use for that greenish fluorescent color, or Full or Half Plus Green + Full or Half CTB, if you're trying for a mercury vapor / Cool White industrial cyan color. Remember that if the other light is of the opposite color tone, like orange...

Well, it's a bit heavy on the green vs. orange... but I don't know if that's a green wall or not to judge how green the light would be on his face. It should be a realistic cyan Cool White fluorescent color, not a forest or lime green. But if the wall is already green, it will look even...

This issue isn't underexposing by 1/16th of a stop -- I can't see that small a difference, you can't adjust an f/stop ring to that level of precision, and that's less than a single printer light point of correction in post. The issue is consistency and matching between lenses, so that a T/4...

You need the windshield visible on camera to only reflect black cloth, so it has to be pretty large, and it should be angled down so the sun doesn't hit the black. Most windshields are tilted and reflect the sky, so you have to put a large black frame more or less tabled, like an angled ceiling...

You have to tent the windshield so that it reflects black cloth (easier when the windshield is tilted and reflects mostly sky). Trouble is that you also tend to kill all the frontal light that way so you sometimes have to then add some artificial frontal light to compensate, and keep its...