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David Mullen ASC

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Everything posted by David Mullen ASC

  1. Not to mention that if the 6’ tall live action actor was shot with a camera 6’ in the air, now the camera lens has to be 6” high for the miniature… you see why snorkel lenses, probe lenses, etc. sometimes have to used when the lens position for the miniature is somewhere a normal camera and lens can’t fit.
  2. Yes you have to scale the distance and lens height, etc. Plus stop down a lot… But the focal length should be the same. However if you feel you might need to have room to realign the background plate, meaning you might need to zoom in first, then it would help to shoot on a slightly shorter focal length with frame lines for cropping to the matching focal length.
  3. Facial proportions and perspective are controlled by distance from lens to subject, not focal length.
  4. Also keep in mind that many of those 50s Eastmancolor movies have been restored from b&w separations which sometimes have increased contrast. Or they’ve been restored from a faded color negative where adding contrast is the only way to fix the black levels. It’s true that color negative back then did not have the wider dynamic range or latitude of later stocks and this was compounded by contrasty printing methods forcing cinematographers to use excessive amounts of fill light sometimes. But also the slow speed of the stocks encouraged some underexposure so shadow detail wasn’t always what the stock was capable of delivering. But even so, color negative back then was not that much more contrasty than it later became.
  5. With reversal film, the densities are reversed during processing but since a piece of dust is a piece of density, and on the developed reversal original, now the image is a positive with the denser areas being the shadows, the dust is black.
  6. The dust isn't usually there at the time of exposure between the light path and the film in gate (though that can happen too), it more often collects on the film roll in the magazine after exposure and at the lab during handling. Either way, it usually wouldn't just sit there on the film like glue while it is running through the liquid processing machines (I could be wrong on that part). But if it did, then it will always be a piece of dust, i.e. opaque. There is no light added in the processing of negative film, the light hitting the film happened in the camera gate and it happens again when striking a print off of the negative. Light hitting the negative doesn't actually convert silver halide to silver yet, it gives it the potential to be converted later in processing. Then in the later fixer and wash steps, the remaining unexposed silver halide is removed. So dust, if it settles on the negative, acts like a piece of density blocking the printer light, and the denser parts of the negative are the brightest parts of the scene, so the dust rephotographs as white on the print (dust later settling on the print would be black.)
  7. I haven't noticed much noise difference between ProRes and Arriraw at ISO 500, which is what I tend to shoot at, but I suppose that it is possible that the camera has to apply some minor noise reduction before compression to ProRes.
  8. Why would the T-stop affect the suitability of the lens for the Komodo?
  9. If you are spot metering a day exterior, whether magic hour or in sunlight, you point the meter at what you want to measure and then make a judgement call as to how many stops over or under middle grey value you want that area to be. If you are shooting at a low angle with people semi-silhouette against a dusk sky, then you'd probably meter the sky and either say that is middle grey or one-stop over in value, depending on the effect you want, and you'd let the subjects go silhouette. If there is less sky in the frame and the people are more important, you'd probably meter their faces and decide how dark they should look at dusk, maybe two stops under middle grey. Just depends on what effect you want, and also if you want to err on the side of less underexposure and further darken it later (or you could effectively do that by rating the film stock slower and shooting a grey card exposed correctly for that lower ISO, so that the transfer will be set to make that look normally-exposed, in effect, bringing down the image in post so that you don't have to underexpose the film quite as much.
  10. Doesn’t matter how far the source is, both your eyes, the meter, and the camera are reacting to the light that reaches you.
  11. That’s traditional in the UK, they start with “1” for the first set-up and keep going.
  12. I’m guessing the fraction is the scene number over the set-up number for that scene, then the larger number is the total set-up number at that point? But if that were true then both slates were for Scene 1 in the script… plus one slate is March 3 and the other is April 17, which has the 1/1 so my guess can’t be right… Maybe it’s a series so the 1 above is the episode number and the number below is the scene number?
  13. I was rejected when I applied to UCLA's film school, mainly because my GPA had dropped too low due to the fact I had been studying for pre-med but making movies on the side -- I ended up at CalArts, which was portfolio-based..
  14. I don't think there is much color reproduction difference between tungsten and daylight Vision3 stocks, they use the same color filters, the only difference is that the daylight stock has a slower-speed blue record (i.e. the monochrome silver grains are smaller, the filter is the same) to compensate for increased level of blue wavelengths in daylight. Color shifting tends to be more due to the use of heavy NDs rather than the 85B correction, which can sometimes be less than neutral plus some allow IR pollution. Since the arrival of digital cameras, manufacturers have been making ND filters that also cut IR, but in the days of film, that wasn't much of a consideration. All the 85B filter is doing is cutting some of the blue wavelengths so that record is not overexposed compared to the others when shooting in daylight on tungsten film. Stocks can also have crosstalk issues that cause certain colors that fall between the primaries to shift one direction or the other.
  15. With a 59.94 hz CRT video image shot at 24 fps, there are actually two (or three) roll bars. Setting the shutter to 144 degrees makes them thin lines rather than fat bars. Using a phase control and running the camera at 23.976 fps allows you to stop the rolling and move those lines either to see only one in the center or two lines at the top and bottom third of the frame. The only way to not have any roll bar / lines is either to shoot at 29.97 fps or use a special 23.976 fps monitor and deck with footage converted from 59.94i. Or use a flatscreen LCD monitor.
  16. Ultimately a large portion of the size of a film camera is the film magazine…
  17. Ignoring special situations involving fire and water, which don’t really miniaturize, you shoot models just as you would a real-sized object in terms of focal length, with the camera position scaled to match the miniature (which can be hard sometimes, which is why snorkel lenses are used for example). The big issue is depth of field. Think of a real-sized object like a ship or building shot from 50’ away or so — most of it would be in focus even at a wide aperture. Now try and replicate that with the focus set on a miniature only 1 foot away.
  18. “Invictus” supposedly had IR issues with 500T Kodak film in sunlight with heavy ND filters causing the colors of the rugby team jerseys to shift. But that’s the only time I’ve heard of a problem. I usually shoot 250 ASA or slower stocks in sunlight so an ND.9 is the heaviest I need to go, so I haven’t seen any IR issues.
  19. Generally you gel tungsten lights blue to match the natural light’s color temperature in day interiors, assuming you want a match. Then whether you use a correction filter on the camera to correct tungsten film to daylight is up to you, some people use a partial correction or no correction and then correct it in color-correction later. Moonlit (artificial) night interiors tend to be low-light so you might gel lights to get the color you want but you wouldn’t need to use correction filters.
  20. The lighting issues regarding the color of moonlight are the same whether you are using 3200K film stock or a digital camera set to 3200K.
  21. Sunlight bouncing off of the Moon lowers the color temperature to a measured 4100K but honestly I think it’s higher than that — I’ve taken photos by moonlight in the desert and if the camera is set to 3200K, the moonlight is pretty blue-ish. I’d say it’s more like 4300 or 4700K… keep in mind that underexposed blue daylight light looks more saturated than fully exposed uncorrected daylight. And in reality in moonlight our eyes see more with their rods instead of cones so colors are muted. Ultimately how blue to make moonlight, if blue at all, is more of a creative choice.
  22. That's odd because that works out to be a 2.20 : 1 aspect ratio. Maybe the gate was designed for blow-ups to 65mm?
  23. Keep in mind that a 4K DCP for a 1.85 movie is 3996 x 2160 — and since 2.40 on 2-perf doesn’t use Full Aperture width, some 4K scans might be less than 4096.
  24. 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.
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