Jump to content

Satsuki Murashige

Sustaining Member
  • Content Count

  • Joined

  • Last visited


About Satsuki Murashige

  • Rank

  • Birthday 05/27/1980

Profile Information

  • Occupation
  • Location
    San Francisco, CA

Recent Profile Visitors

40409 profile views
  1. If you did this, your negative would be 1.3 stops underexposed so the image would less dense and have more grain. For a denser negative with less apparent grain, you would want to set the meter to a lower ASA value and avoid pulling development.
  2. Nah, that’s what most tech companies are using out here too.
  3. I’ve found that sometimes this can happen in the edit, and it’s not really anyone’s fault (well, not the director’s, anyway) - a scene which was supposed to take place in cold dreary London (thanks Phil!) now has been repurposed to warm sunny California, so the shot which was exposed and white-balanced for one location now has to be graded to match the other location. I had a director with whom I have a good relationship ask me to do those color shifts with a LUT change instead of in-camera white balance on a project last year, and I’m glad I did. Of course, I did get to supervise the grading session in the end, but these things do happen. But in general, I’m in agreement with you. If I’m going to put my name on something, I’d rather any photographic choices (good or bad) to be mine rather than someone else’s.
  4. On a multi-cam job this past week, the 1st AC passed out a set of Eartec wireless comms to the camera crew. I’ve used wired comms before many times and of course radios, but it was my first time using these. It was great and made communication super easy when we were all spread out. I wonder if there’s a way to use these for this purpose.
  5. On the one hand, I understand this because it’s what they know and they finally get to show that to you. On the other hand, it’s strange to me that they wouldn’t be interested in working with bigger units for the first time. I remember when I was in film school and only had access to an ARRI tungsten kit - I desperately wanted to learn how to use bigger lights and rigging like I had been reading about in American Cinematographer. I transferred to a larger school specifically to use their sound stage and learn how to use 5Ks and 10Ks, crank stands, and generator power. I guess part of it is due to the changing tastes in cinematography over time. I still love the look of a huge blue backlight with a wet-down on a night exterior, while to most young people coming up this is so old fashioned looking and ‘unrealistic’ (which of course is the point). They would never dream of doing such a thing.
  6. Oh, don’t be too sure about that! I’m finding that crowding around a monitor is a nearly impossible habit to break...
  7. Looks really great Justin! You guys nailed it.
  8. I think you’re right about pride and ego being the main cause of friction on set when it comes to different working methods. I’m in a small market with crew who mainly work in larger budget corporate and commercials, with most having worked in film and tv earlier in their career. We mostly either all know each other, of each other, or are once removed from knowing each other, and expect to work together frequently. That encourages a certain amount of looseness about sharing duties between departments and helping each other out. If the grips are busy I might set a floppy for myself, or help push a hamper at wrap. There’s a familial quality about it. When I work with someone who has primarily done film and tv (usually a younger person coming from LA), then this kinda stuff always comes up. Such a person would never run a stinger for themselves, even if they can see that the electricians are busy. There’s good reason for that in some situations, but in a lot of cases it just makes things way slower than they need to be, and I find a gaffer with not enough hands (and who knows that I won’t screw it up) will appreciate the help, if I just ask for permission beforehand. Also, I think there’s also a certain amount of fear that exists on larger sets about stepping on toes, so crew that don’t know each other well yet stay in their lane to a fault. The ‘LA Style’ of working, if I can call it that, works really well if everyone is on the same page and clicking. But it can be crazily inefficient if someone is dropping the ball and everyone else is sitting on their hands because it’s not their problem. I guess the reality is in that situation, that person gets replaced in LA. Whereas in a smaller market, you might not be able to do that. so you make do and just try to get thru the day. P.S. I agree with you about the Jimmy Jib - it’s an incredibly flexible piece of gear and when you have an expert operator, there’s not a lot you can’t do with it. And it’s usually just one person, sometimes without even a focus puller.
  9. Well, this is far bigger than any job I’ve ever done, so not sure I’m really the one you should be asking for help! That said, it occurs to me that if you just want even soft top light over the path, then you’re really talking about enhancing the overcast skylight that already there, rather than replicating sunlight. Do you have an idea of how many footcandles you need to have on the path? If it’s minimal, could you do it with a series of HMI lighting balloons just above the frame?
  10. Are you looking to get a hard backlight for the whole path, or is it possible to have just a short section lit? Or even just the foreground? Is it supposed to be warm sunset or bright midday sun? Are there any high, level-ground areas where you want to place the lights, or are you going to have to get a bunch of cranes and miles of cable runs out into the forest? Is there a way to alter the shot to a long lens, or does it have to be on a Full Frame 35mm focal length?
  11. 1. I think it might be too late to guide this person if they’re already in the midst of pre-production. It takes time and practice to self-evaluate, recognize and change patterns of behavior, and eventually learn to how to let go and trust your collaborators. The best time to discuss these things are post-mortem, after a job that could have gone better. 2, 3. I prefer my keys to get on the job as early as possible, have as much info as possible, and get on scouts, preps, and creative discussions with the director and producer early enough to have their input. This is because once I’m on set and busy with the director, I may need the keys to run on their own for a time with little to no input from me. If you empower your crew to make creative choices within the boundaries you’ve set in prep, it makes things run so much smoother and faster. I’m pretty quick to pre-visualize a lighting approach, so after getting buy-off from the director, I discuss with the gaffer and key grip. I usually have an idea of how it could be done in broad strokes, but often my gaffer will suggest an alternate way that’s easier for him, depending on the units, manpower, budget, and time available. I’m less confident about camera rigging, so I tend to defer more to the key grip on those matters. Though sometimes, if I know exactly what I want for a rig then I’ll talk it thru with them and see if there’s a better way of doing it. If I have a specific thing that I want, like a shiny board for a car grill reflection instead of a lighting unit, or a rag clipped to the overhead for a double break instead of adding a diff frame, then I ask for it - but by then because everyone knows what we’re trying to achieve, it tends to be easier. 4. Unplanned days make me nervous. I like to have a solid plan going in, and then I’m happy to improvise inside of that if things change. I could tweak a shot all day if left to my own devices, so I’d be worried about missing coverage. But similar to how we build trust with our crew, the director who makes that call needs to build trust with the DP. If they want to work that way, then it can be done (and obviously has been done well in the past). As long as I feel safe beforehand, I’d be ok with it.
  12. Ah, I see. Is there any mounting point at the location that you can tie off to? For example, if you park the car near two trees or light poles, then you could tie off two corners of the rag and use your two combos for the other two points. You might not need the frame then.
  13. Isn’t 8x8 kinda small for a car overhead? Why not a 20x20? If it must be 8x8 and you’re only using it for bounce, maybe you can make a menace arm with two 4x8 showcards? Saw it done with one 4x8 last week, it worked surprisingly well with only a moderate amount of curvature. If I remember correctly, a baby plate was inserted thru the card and taped into place, then was further reinforced with more card. It was a fairly clean look, the reflection of the reinforced middle section of card would be less noticeable than a seam in a 20x20 rag.
  • Create New...