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Satsuki Murashige

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About Satsuki Murashige

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  • Birthday 05/27/1980

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  • Occupation
    Cinematographer
  • Location
    San Francisco, CA

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  1. I think the street lamp practicals also going cool might support that theory.
  2. I also think an individual’s frame of reference for such things often depends on their influences. I grew up in a very foggy part of San Francisco, so I rarely ever saw hard moonlight - ‘moonlight’ to me came to mean a soft overcast ambient glow. The Hollywood-style wet-down/hard backlight ‘moonlight’ never felt realistic to me (although it often worked as beautiful and evocative imagery). Much later, when driving through desolate parts of the Southwest at night, I saw that moonlight could be something else entirely.
  3. Makes sense to use a large tungsten fresnel, since so much of the coverage is overcranked!
  4. Could be just the rain! It’s a beautiful image, regardless.
  5. No sarcasm intended at all, I apologize if it came off that way. I don’t believe there is an objectively ‘perfect’ meter, only one that is perfect for you. Hopefully, you will find the right fit. All the best, -Sats
  6. I think you are missing the forest for the trees, so to speak, but you are certainly entitled to your own opinion. Good luck in your search for the perfect light meter! 🙂
  7. I think it’s also reasonable to still consider moonlight diffused by cloud cover as a ‘moonlight’ look since it’s still the motivating source. ’Road to Perdition’ (2002) Dir. Sam Mendes DP. Conrad L. Hall, ASC
  8. On the other hand, sometimes a soft toppy ‘moonlight’ source or a mix or hard and soft looks good: ‘Django Unchained’ (2012) Dir. Quentin Tarantino DP. Robert Richardson, ASC
  9. What I was sort of getting at is that a multi-tool will never be as good at a specific job as a dedicated tool. For some jobs, the convenience of having to carry only one tool outweighs having to carry multiple dedicated tools. And sometimes you simply need the precision of exactly the right tool for the job, no matter how cumbersome. In other words - the multi-tool is a design feature, not a bug. It just needs to be recognized for what it is, and what it isn’t.
  10. I think the Sekonic is more of a multi-tool, it has spot/incident/flash/fc/lux/fL/filter comp/shutter comp, etc. Trying to appeal to both stills and film/video markets. Whereas the Spectra is more of a single purpose precision instrument made for cinematographers. I know they also make a spot attachment for the Cine IV, but it seems rather cumbersome and I’ve never seen anyone use it.
  11. Can’t speak to the Sekonic 858D-U, but my L-558 Cine (2 generations older) is less sensitive than my Spectra Cine IV. It also only reads out in increments of 10fc, whereas the Spectra reads out in 1/10 fc increments. I think footcandles/lux readings are more of an afterthought with the Sekonic.
  12. I think one issue you will have with doing this with a Microforce or similar manual motor controller is that if you keep the motor speed constant, then the zoom will appear to move faster and faster towards the long end of the lens. Maybe that will be ok, but if you want the appearance of a constant zooming speed, then you’ll need to gradually ramp down the rotational speed of the zoom ring during the shot. In that case, I think you’ll need some kind of motion control rig where you can program the motor speed on a curve. Or if you’re willing to risk a sore thumb, you could do it with
  13. Roger says in his podcast that he’s a light tweaker, constantly running around and adjusting lights himself. So it’s probably faster for him to get what he wants by working with smaller heads on baby stands, instead of large heads on combos and crank stands. That said, I’m sure he does plenty of both.
  14. Keep in mind that Roger Deakins only shot the movie that Denis Villeneuve wanted to make. Even if Roger (or someone else) attempted to copy Jordan Cronenweth’s work, ‘BR: 2049’ would still be (in my opinion) thematically disconnected from the original. I think Mr. Villeneuve was probably the wrong choice of director if the producers wanted a sequel that felt ‘the same’ as the original. His films are beautifully cold, distanced, and bleak, with hints of absurdity wrapped in a veneer of realism - he is not a romantic like early era Ridley Scott.
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