Jump to content

David Mullen ASC

Sustaining Member
  • Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by David Mullen ASC

  1. It won’t be coming out soon if by soon you mean Summer 2019...
  2. So what are the state-of-the-art 2/3" field cameras today, and have they increased the ISO past the 320-400 base range of previous 2/3" cameras?
  3. There is a Canon 50-1000mm (T/5.0-8.9) zoom, and a faster Fujinon Premier 75-400mm (T/2.8-3.8) for Super-35 sensor cameras. The Fujinon with a doubler could get out to 800mm, which of course isn't as telephoto as you might like, though it gets hard to operate smoothly when the lens gets super long, there is some jiggling if you aren't careful.
  4. I don't think the 2/3" broadcast cameras have changed much in sensitivity over the years, they are all limited by the photosite size, overall sensor size, and prism block design. They tend to be a base of around 320-400 ASA at 0 db.
  5. Don't know if any rental houses have converted a 9-light Maxi to something like this.
  6. Just watched the 1937 "A Star Is Born" so that's one more off the list.
  7. It's a lot of work to maintain a web forum so I generally don't complain unless there is a real problem, like the spam that keeps flooding some other sites.
  8. OK, if its a stage, then a diffusion frame with the lights behind is a good idea, but a large bounce would work too. Youd have more room if you used the diffusion frame with the lights behind on stage especially if youll have people waving flags or panning lights to create some movement and flicker.
  9. If you see the front row, I would probably bounce the lights off of the movie theater screen.
  10. It looks like 3200 ISO is the highest you can set the camera to, so maybe that's another reason to do it in post if he wants to go "several stops" beyond 1280 ISO.
  11. OK but if you want realism, your vfx compositor will have to be really good to add the imperfections of reflecting something in glass, racking focus, etc. I would suggest shooting this shot on a digital camera or 35mm because a chattering matte edge from 16mm grain is going to detract from the realism. I guess you have no choice but to composite if you want to start full frame inside the mirror on the view before pulling back and revealing that it is a reflection, and adding the surface imperfections of the glass, etc. Also, it would help if the mirror was as rigid as possible rather than actually being handheld.
  12. Yes, I'm not sure why they don't use use a higher ISO rating if they want more noise from underexposing. Maybe however they are compensating for the rest of the underexposure in the post house is more flexible than just letting the camera do the correction.
  13. I'd almost suggest doing it live with a big photo blow-up of the mountains on posterboard to reflect into the mirror, that way you'd have the correct focus rack from reflection to mirror. As the reference shows, when you focus on the reflection you are also focusing on the deep background behind the mirror though a photo blow-up won't be as far away.
  14. You can at least use a higher ISO rating to get the noise, can't you?
  15. I dont why that Panavision page shows an example of an anamorphic lens (maybe its a 1.25X Ultra Panavision lens image or their new 1.6X lens for the DXL).
  16. Any of the above. Best scenario was when they could use a carbon arc lamp but sometimes they went with reflector boards. In a lower-light overcast day, they might just gel a tungsten lamp blue.
  17. I loved the look of "Ain't Them Bodies Saints" when I saw it and didn't know he was a black cinematographer at the time, so it's insulting to suggest that his race is the only reason I admire his work. "A Most Violent Year" felt very much in the vein of Gordon Willis / Owen Roizman / Harris Savides (such as in "American Gangster".)
  18. It's not, "The French Connection" was shot standard 4-perf 35mm for 1.85 release.
  19. “A Most Violent Year” and “Ain’t Them Bodies Saints”
  20. Bradford Young has done seriously amazing and beautiful work, I think hes this generations Harris Savides.
  21. I don't advocate NOT studying contemporary work, but only concentrating on that would be a mistake. Not sure there are many great comedians who haven't listened to Richard Pryor, who isn't contemporary. And I'm sure Richard Pryor listened to Redd Foxx and Lenny Bruce. If you want to be a very shallow commercial artist, sure, just look at the latest trends and copy that without knowing how or why things got to be like that. If you want your work to have some depth, expand your research. Plus, if cinematography is something you love, if making images is something you love, you aren't going to limit yourself to just contemporary works, you wouldn't be able to stop yourself from exploring further in many directions. Are you saying no one has become a better cinematographer by studying Gordon Willis or Conrad Hall? Gordon Willis has been a big influence on many contemporary cinematographers like Bradford Young.
  22. Without the perspective of time, it's hard to see evolution as it actually happens. You don't know what's a passing fad versus a structural change. When I learned filmmaking, I first studied my heroes and then I studied the people my heroes said they studied. Whether anyone was contemporary or past didn't matter to me as long as I was excited by the work. Saying you want to learn cinematography only by studying the present is like saying you want to learn about writing only by reading contemporary writers.
  23. B&W reversal is sharper, you just have to nail the contrast levels and exposure. You need a strong key light -- when I started out in Super-8, I had a 650w open face tungsten light that I found in a garage sale for $5, which I used for everything. Then when the bulb finally burned out, it turned out the replacement was $25! I don't know the Fomapan stocks, I used to shoot mostly on Kodak Plus-X Reversal.
  24. I heard that Samsung and Oppo were discontinuing making blu-ray players, which is disturbing!
  • Create New...