Jump to content

Satsuki Murashige

Sustaining Member
  • Content Count

  • Joined

  • Last visited

  • Days Won


Satsuki Murashige last won the day on November 27 2019

Satsuki Murashige had the most liked content!

Community Reputation

437 Excellent

1 Follower

About Satsuki Murashige

  • Rank

  • Birthday 05/27/1980

Profile Information

  • Occupation
  • Location
    San Francisco, CA

Recent Profile Visitors

38825 profile views
  1. Alexander, how about: Kate Arizmendi https://www.katelinarizmendi.com She’s based out of NYC, but I’m sure she’d be down to come to LA for the right project. I think she prefers shooting on film as well.
  2. Quite a few women have in the past, and I’m sure some are currently reading without posting. As for why more women don’t post regularly? Perhaps because of posts like this?
  3. I’m referring to the remote servo zoom controller that you clamp to the tripod handle and plugs into the lens. Maybe I’ve just always used a cheap one and the more expensive ones are better? Here’s the one I’m used to. The zoom rocker has so much play before you hit the start point that I find it really difficult to feather stop/start unless I crank the speed way down which makes it useless for everything else. If you want to ease in on the lens, you have to travel a fair bit on the rocker and hold it there, which requires more effort and concentration than just ‘push to go.’ Whereas on a Microforce, when you put pressure on the thumb controller, it moves the motor immediately and is very pressure sensitive. I also like that the zoom function is Up/Down, rather than Left/Right. Much easier to remember that ‘zoom in is forward’ and ‘zoom out is back’ and less travel on the thumb knuckle joint to boot. I’m sure I would get used to the other system over time, but to me the Microforce system is far superior. Of course, you do have to worry about the motor getting disengaged with the Microforce since it’s external to the lens. I like that it’s smaller and can easily be remounted for left hand operation. This allows me to operate closer to the center of mass and ‘be one with the camera’ rather than operate from behind the camera. Just personal preference.
  4. Seems like a good list. I do think getting a 5.6/8 might be a bit optimistic at 800 ISO, especially with big interiors and night exteriors. Unless you are going for a hard light key and not bouncing. From experience shooting available light night exteriors with the 5D Mk3 + ML Raw, you can get away with a lot if you use noise reduction in post. If you are planning on using bounce light, maybe add the 2K Blonde and 800w Redhead open face lights? You’ll get more output, they are lighter, and if you are bouncing then the lower beam quality won’t matter.
  5. I’ve found one of the best ways to hide a zoom is to start a move with a pan or track first. I don’t know how those ENG guys do such smooth zooms with those twitchy servo zoom controllers, I find it impossible to feather the start on those things like I can with a Microforce - you push and it does nothing... until it does. I think many of the best camera operators in the business work in live broadcast.
  6. Anecdotally, a lot of older lens coatings in my collection like Pentax Super Takumars look warmer and low contrast compared to their more modern counterparts like the Pentax SMC. And the same relationship seems to hold true for vintage lenses like Cooke Speed Panchros vs more modern Zeiss lenses, which have very high contrast coating with purple and green/cyan reflections. This leads me to believe that the color and contrast which you see looking into the front of the lens will be generally similar to what you get out the back, so to speak. That said, I have seen some older lenses (mostly telephoto, I think?) with hazy blue coatings, so it would be interesting to compare the color on those.
  7. I think so. Some negative fill makes sense, the darker the surface is, the more it will show the reflection. That also means darker skin tones will show the reflection better.
  8. Most importantly, make sure the face is wet. The surface needs to be reflective. Bounce card for the reflection works fine - angle depends on where the person is looking. Looking down, low bounce works. Looking forward, low and sidey might work better. You’ll just have to play with the angle on the day.
  9. You can soften the key light with a diffusion frame, or move it higher or more sidey out of their eyeline. Often, just reducing the specularity of the key light can help. On day exteriors, try shooting into backlight and just keying with a bounce card. You can also try putting a 4x4 floppy behind the camera.
  10. If you want it moody, I guess the first question is, do you even need to light the wide? With an Alexa and a Low Con filter, it I think it would look pretty good as is.
  11. Also, almost every US commercial I see these days is shot anamorphic and super shallow depth of field. But often not lit with much contrast or strong color design. I saw one recently for a jewelry brand where you could see the hard anamorphic vignette all the way around the frame as part of the look.The rest was center-framed, super shallow, desaturated mush. The European ones seem to be a bit less in-your-face, I guess. What I like most is that they embrace shadows. Too often these days, I see projects lighting to high ISOs that don’t have deep shadows and are just flat looking. I’ve had some clients send me references that look cinematic with dramatic contrast. But then they say, ‘I want this feel, but not this look.’ They are afraid of not pleasing their bosses. It’s unfortunate because many of them have good instincts for beautiful images. When you get one who really wants to go for it, it’s a rare pleasure.
  12. Bringing a backup camera body is always a good idea for remote location shooting.
  13. I think there is a more classical, late 90’s - early 00’s narrative film aesthetic to the lighting and framing that you don’t see as much of right now in US commercials. Here, either high-key, super-slick, or rougher faux doc-style is currently more popular. The first commercial is really a short film. Has a gorgeous ‘color negative film’ look with film grain, controlled mixed color temps, soft low-key lighting with carefully selected practicals and blue moonlight, single-camera style. It could be 35mm, though I’m not seeing much red halation on the highlights so it could also be Alexa. Looks to be spherical, with some interesting imperfect optics (maybe Cookes?). Tasteful handheld and artful frames like shooting thru rainy windows that took some time to set up. You can tell it likely had a decent budget and shooting schedule. The second commercial is quite a bit simpler, and doesn’t have the rich ‘film look’ applied. You can see the practicals are clipping a bit, probably an older Red or Sony camera. Desaturated overall, with haze and some big lights for ‘sunlight’ thru the windows. Some nice framing but no special ‘film look,’ to my eyes at least.
  14. Here’s a pretty bare bones ARRI-style dovetail system that might help: https://www.smallrig.com/smallrig-quick-release-plate-arri-style-1723.html https://www.smallrig.com/smallrig-8-lightweight-arri-dovetail-plate-dpr2304.html
  15. If you’re used to an OConnor counterbalancing system, everything else will pale in comparison. With tripods, the old saying, ‘you get what you pay for’ holds true in my experience. 🙂 Anyway, glad you got it sorted!
  • Create New...