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David Mullen ASC

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Everything posted by David Mullen ASC

  1. 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?
  2. 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.
  3. If you’re happy with the results and it meets your distributor’s technical requirements, then go ahead!
  4. 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
  5. 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...
  6. Can't you just post a frame rather then send a link to download files?
  7. 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.
  8. I used a 20K tungsten on a condor on stage to get a noon hard top light.
  9. 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.
  10. 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.
  11. Go to 1:17. Looks like little red bulbs somehow fitted near fluorescent tubes?
  12. 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.
  13. 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.
  14. Wouldn’t you also need a light meter that was accurate for specific wavelengths?
  15. Not sure it would be cheaper — if you do the math, you basically pay for negative real estate.
  16. They are different things. If you had a 5K 20’ above an open-top set at half-spot in the center of the room, pointed straight down, and then you flew a 20’x20’ diffusion frame 10’ above the set under the light, there would be an increase in fall-off rate because the diffusion now becomes the source and it is closer — but there would not be an increase in contrast. Contrast is a ratio between the brightest and darkest thing in the frame, fall-off is the rate that the intensity drops over distance.
  17. You usually need ND as well, particularly with 500T so get 85 and 85NDs.
  18. I still think you are mixing up fall-off rate with contrast. If you light a field at night from the side with an 18K HMI a block away and then light the close-up with a 12x12 soft light ten feet away, no viewer is going to say “hey, why did the contrast increase?” Same thing when you silk the overhead sun that is far away, creating a soft light only 20 feet above the actor’s head, you don’t see a huge increase in contrast (I can’t imagine telling a director that I won’t silk hard overhead sunlight because that’s only going to make the contrast problems worse.) What you do get is a more rapid f
  19. I'm defining contrast as the ratio between the key and the shadows. I think you're talking about the fall-off rate of the key on the face.
  20. If you’re outside under the harsh sun with a lot of contrast from a far source and you fly a big silk above the actors you don’t suddenly see a big increase in contrast.
  21. What increases as the light gets closer isn’t the contrast between key to fill, it’s the speed of the fall-off.
  22. I don’t really agree — the contrast could be the same depending on the circumstances. I could light a face with a far away key to a 4:1 contrast ratio and I could light a face with a soft key closer to a 4:1 contrast ratio. When I light a master with farther lights and then come in with softer lights up closer, I don’t have a problem with a contrast increase.
  23. I think there is no "scientific" definition for "fall-off" in terms of contrast effect, that is more or less a vague description someone gives when a room is going dark quickly around the area that is lit. You could have a person lit with a soft box and if the sides of the room are far away, or the furniture and walls are dark-toned, the perception will be that the room "falls off" despite the light being soft. So it's a term that gets used but I would be hesitant to define it too clearly. It is easier to talk about "fall-off rate", which is a way to avoid the more scientific term "i
  24. I don’t think distance of source and contrast are related. An overcast sky is a distant source creating a lower-contrast effect and the sun falling through gaps in a forest canopy is a distant source creating a higher-contrast effect.
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