David Mullen ASC

Not sure that's a helpful way to think about it -- sometimes it works out that way but every situation is different. If the best way to light a small room is to bounce a light off the center of the ceiling and it looks great, then how is that lighting in layers? Or any space lit with a single light?

Cinematographers Mailing List is Cinematography.net — this is Cinematography.com… Anyway, that’s a bit more of a difference in color than you’d expect though it would be better to compare them using a preset color temp setting rather than after AWB if you really want to figure out the difference.

If you’re happy with the results and it meets your distributor’s technical requirements, then go ahead!

Forget all the scaling up and down issues for a moment. Max resolution on the Venice is 6048 x 4032. That means your vertical resolution is limited to 4032. If your image has a 2X squeeze and you want the final unsqueezed image to be 4x3 (1.33 : 1), then your actual image area is half as wide, 2x3 (.6666 : 1). This means the max area of the sensor you will be using is 2688 x 4032. You can think of that as a 2.7K image. Doesn’t mean it won’t look good side-matted in a 4K deliverable (or blown-up to 4K, though there isn’t a 4x3 4K format.) But it wouldn’t meet Netflix’s 4K m

You’re not going to get to 4K…

That's crazy... 2X squeeze optics means the actual sensor area used to get 1.33 : 1 after desqueezing and cropping is a vertical 0.66 : 1 rectangle. Perhaps you should turn the camera sideways but then the lens would have to be mounted rotated 90 degrees as well...

Can't you just post a frame rather then send a link to download files?

Depends on if you just want a film print to project for people or if you want to transfer to film and then retransfer to digital.

I used a 20K tungsten on a condor on stage to get a noon hard top light.

I did a no-budget F900 feature in the early 2000’s where the director borrowed the first set of Zeiss DigiPrimes to arrive in the U.S. — but they were marked in metric only. I had no crew on that one, just a PA to pull focus for me when needed (the whole crew was just me, the director, an AD, an art director, a costumer, and a couple of PA’s to help.) I remember one PA being totally confused by the markings, thought the lens was broken.

The hallways seem to be using short fluorescent tubes with the cover gelled red so perhaps they are using thinner fluorescent tubes gelled red stuffed next to a white tube for the Ready Room.

Go to 1:17. Looks like little red bulbs somehow fitted near fluorescent tubes?

There is blue-dyed grid cloth that can be used to both soften and cool down lights but if this is softening real sky and sun, not sure it needs to have blue added.

Not sure you should be spot metering to a white card -- "white" can be any number of luminance values above a certain level. If you're going to be spot metering a card, it should be an 18% grey card. Based on your still life arrangement, the closest thing to 18% grey was closer to your f/2.0 reading.

Wouldn’t you also need a light meter that was accurate for specific wavelengths?