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David Mullen ASC

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About David Mullen ASC

  • Birthday June 26

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  1. Lighting Designer is a live theater job title. Chief Lighting Technician is the gaffer on a film set. A cinematographer is neither. The cinematographer / DP / DoP are all the same thing. A production can have more than one if there is a second unit DP and/or an alternating DP on episodic television, visual effects cinematographer, etc.
  2. Mr Mullen, I hope you are doing well. I have a shoot coming up soon. I have been doing tests with XEEN prime lens kit supplied by my client. I love how it looks accept for the very slight green tinge it's giving to the overall image. I know its simple to Colour correct this in post. What filter can I use on the glass to deal with this? 

    1. David Mullen ASC

      David Mullen ASC

      I’d avoid glass for a minor correction if the camera has tint setting (green/magenta). Why add an extra point where something can go wrong if it’s easy to correct digitally? Otherwise, a CC Magenta filter would take out some green but you’d have to know what strength to get.

    2. Sanele Ndlovu

      Sanele Ndlovu

      Good point, thanks. 

  3. The final composite answer print can be screened as a show print.
  4. You just have decide how many stops to underexpose for the moonlight and how many stops to overexpose for the lightning. It’s a creative decision based on how well do you want to see things before and during the flash. You’re shooting film so you have a lot of headroom to overexpose the flash while still holding detail. You could, for example, have the moonlight be 2-stops underexposed and the lightning flash be 3-stops overexposed, which would be pretty dramatic. But the lightning could also be less hot - in reality how bright it is depends on how far away and how intense the flash is. You could have a few dimmer flashes that are only at key level and then a big one. If you need to see more action in the room before the flashes, you might decide that the moonlight is only 1.5-stops under (and that also depends on if the moonlight is a side light, frontal, or a backlight.)
  5. I think you’re referring to the post effect that the French VFX company BUF did by taking footage shot with two side by side cameras and morphing back and forth between them.
  6. If you are starting at 320, then losing 1-stop is 160, 2-stops is 80, 3-stops is 40.
  7. “OK, other than the — and the — and the — and the — …what have the Romans really ever done for us?”
  8. Your lens isn’t neutral?
  9. I didn’t have trouble with 172.6 on the Alexa in Paris shooting at 23.98P.
  10. I have the same dilemma shooting still photographs - do I only shoot film if I want to make it look funky and retro? Because clean and sharp is so much easier to do with digital.
  11. There are always convincing arguments for both directions — work at the extremes for a distinctive look, or work in the middle and be subtle.
  12. Yes a mistake. It happens, sometimes in writing you accidentally say the opposite of what you meant to say…
  13. The Circle of Confusion being tied to image magnification was more obvious when you were talking about different film formats being projected on the same size theater screen. Now it’s a bit of mess to figure out what figure to use. For one thing if one digital camera has a 2K Super-35 sensor and one has a 4K Super-35 sensor and both will be shown on the same sized screen with a 4K projector… do you use the same CoC figure?
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