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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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    San Francisco, CA

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  1. I would go with a clear filter in the matte box and a clear plastic bag wrapped around the camera.
  2. Is post editing with the camera original S-Log3 MXF files? Or will they be editing with Rec.709 proxies? Either way, you can make a Rec.709 LUT in Resolve that corrects for your EI exposure offset. Use 33x33x33 .cube format for FS7 in-camera viewing and 65x65x65 .cube for post. I would start with either Sony’s LC-709A LUT or ARRI’s Alexa Rec.709 LUT, and adjust to taste from there. If they are rendering proxies, then they can bake the LUT in. And if they are editing with S-Log3, then they should be able to apply the viewing globally LUT in Avid, without having to refer to metadata o
  3. It would depend on the camera or the film stock. With modern color negative, I would not be concerned about protecting highlights. On a digital sensor with a very harsh clip point or on reversal film, I would err towards under exposing to protect the highlights. It also depends on the intended look. If you’re going for a glowy diffused high key look, then it’s usually part of the look to not have detail in the highlights. You just want to make sure that your rolloff is hiding the clip point, which is where custom viewing LUTs are useful. Otherwise, you’re at the mercy of your colorist to
  4. Lovely work AJ! The frames look great, I thought the anamorphic look worked well and the lighting was rich and contrasty. Nice use of hard light, which you don’t see much of these days anymore. It’s an interesting challenge to film a play set in antiquity in a cinematic style without large resources. One often has to get quite stylized and creative to make it work. I personally enjoy the challenge, as long as the actors and costuming are high caliber. Without that, it’s a nightmare. I’ve had experience with both unfortunately!
  5. Great stuff as always Uli! The baby tossing sequence made me laugh. 😁 You’re gonna have to teach your son to take meter readings for you. Seems like he likes to hold the meter anyway! Your wife is a champ for going along with it too. I think Uli will be ready to shoot Ken Loach films after a few more months of this!
  6. Best of luck to you! One thing you might try is to let your gaffer know roughly how many footcandles you’ll need per scene/location in prep. That’s a level of technical that your gaffer may find useful!
  7. One other thing I would like to say - there is no such thing as a universally ‘proper’ exposure unless you’re shooting tests or working in lab-like environments. What we do is more art than science. You set the target by pre-visualizing what you want the image look like, so ‘nailing’ the exposure is only in relation to what you’re trying to achieve. Put another way - if it looks good, then it’s right.
  8. I think you need to come up with your own formula. There is no universal standard for exposure metering, even on celluloid film. Some people use a spot meter and a grey card, others only use an incident meter and footcandles, still others rely on a waveform monitor, and some just light by eye. You just have to test, test, test and find what works best for you. Personally, I would be wary of using reflected readings for setting the stop based on foreground skin tone as a rule, other than as a double check after getting 90% of the lighting in. Otherwise, you risk the background exposure goi
  9. Tough one. Have you had private conversations about this with the AD team and some other department heads already? Personally, I’d wait to bring it up until you get a majority of keys to back you. It would be a lot easier if the 1st AD, 1st AC, Gaffer, Key Grip, or DP talked to the PM about it as well, asking for changes to be made.
  10. 1. If you adhere to the ‘expose to the right’ philosophy, then yes. If you want consistency from shot-to-shot, then no. ETTR really comes from still photography where images are usually processed, edited, and presented one at a time. A single photographic image can stand on its own. But with motion pictures, shots are part of a sequence. And if you want the audience not to be jarred from cut to cut, then continuity matters - not just in terms of screen direction and mise-en-scene, but also focal length and perspective, depth of field, noise/grain, lighting, etc. Knowing how much you can c
  11. The Venice is a rolling shutter camera. Ben, on the Venice you should be able to use Synchro Scan to adjust the shutter angle or shutter speed in minute increments. Start with 1/60 sec (or 144.00 degree angle with 24fps) and adjust from there.
  12. Some basic questions: What angles are you shooting? How wide do you need to see in your widest shots? Are you shooting any slow motion shots? How stylized of a look are you going for? What camera system/lenses are you using? What’s your budget / G&E crew size situation? I think unless you’re shooting fairly narrow angles, I would consider going with tungsten Maxi Brutes or Dinos instead of HMIs, as you’ll get more spread over a larger distance. They will basically do the same thing as the stadium lights, but you can place them where you like and
  13. If incandescent is available, get those. LED string lights tend to flicker quite badly.
  14. If you’re going to be loading a lot, I would recommend the Harrison Changing Tent: https://cameraessentials.com/product-category/harrison-film-changing-tents A tent is a lot less annoying to use than a changing bag, as you have more room inside and it won’t get as hot and sweaty. I have the regular size, which will just barely fit a 1000’ 35mm magazine. If you find yourself loading 1000’ loads often, you’ll want the Jumbo size. For 400’ mags and Bolex style cameras, the regular size is fine.
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