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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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  1. A few exceptions might be if you were shooting with: 1. A full frame (~24x36mm sensor) camera, in which case 135mm gives you roughly the same field-of-view as an 85mm on Super 35. 2. Shooting with anamorphic lenses. Was operating B Camera (Sony F55) a few weeks ago on a movie where the longest lens in the set was 100mm, and it would have been nice to have something longer. With a taller sensor (A Cam was Sony Venice), this would be an even bigger issue.
  2. The colorist forum is a good resource. https://liftgammagain.com/forum/index.php Also, there are some old posts here discussing the RGB-CMY complementary color wheel, and primary vs secondary corrections, which would be a good place to start. A word search should bring them up.
  3. I suspect everyone will have a different answer, depending on the type of work that they do. There are two main reasons to use long lenses - you need the magnification and can’t move closer, or you want the compression aesthetics. For documentaries, live events, and multi-cam shooting, you definitely need the reach. For narrative and commercial work, you have more control and aesthetics are more important. I don’t find a 135mm further away to be that aesthetically different from an 85mm up close, but it depends on the situation. If you really need a long lens for a shot, then chances are it will be more in the 300mm+ range. If I need a longer lens than an 85mm, then I’m more likely to be reaching for a zoom lens for versatility. Something in the range of 70-200mm or 85-300mm is more useful to me than a 135mm prime.
  4. Love the warm romantic look of ‘Mrs. Maisel’ David. Beautiful shots.
  5. Hot hard backlights usually look better when shooting on film (as in the examples posted by Tiago above), where you get some natural halation in the bright highlights. You can use diffusion filters with digital cameras to get a similar effect. Also, it works better on bigger budget projects when you have a dedicated hair person on set. On lower budget projects, and especially on long interviews where you have to be very selective of when to pause for hair and makeup adjustments, flyaways can be a real problem. This often makes the hard backlight more trouble than it’s worth.
  6. You stand out from the crowd by having a unique point-of-view and, to some degree, imposing that personal taste onto your projects. Look at the masters: Gordon Willis, Conrad Hall, Owen Roizman, Darius Khondji, Chris Doyle, Bob Richardson, Harris Savides, etc. Their work is distinctive in part because they so often stuck to their guns despite sometimes being under intense pressure to do things in a more ‘conventional’ way. That said, I agree with Bruce that ‘everyone is replaceable.’ More than a few of those great cinematographers have been fired or replaced at one time or another in their careers. If you’re primarily after job security, then being unique can be a hindrance.
  7. Hi Ben, There are two main goals that I like to keep in mind regarding eyelines for ensemble table scenes. 1. Establish the spatial geography of the characters. Where is everyone sitting? Where are the key character interactions happening? The audience needs to be able to keep track of these things. This is usually covered by shooting a master shot. You may need more than one master angle to cover the whole scene if the actors get up and move around the room. For example, here is a dinner table scene from the film 'Pride & Prejudice' (2005): Master Shot: In this particular case, the master can only be used for the first half of the scene because after everyone sits, Judy Dench's character at the head of the table is obstructed by the table setting. This actually works well to disguise the fact that the scene's main conflict will be between her and Keira Knightley's character. Though it is faster and simpler to shoot the coverage from roughly the same camera position on long lenses, so that each character consistently looks camera left or camera right throughout the scene, it’s often more interesting to move the camera and actors around in the scene so that the eyelines shift as the scene unfolds. Once the geography has been clearly established, then you have some freedom to cover parts of the scene by changing the direction of eyelines from the master, so long as you respect the eyelines of the matching coverage angles. Two-Shot, changing direction of the eyeline from the master: In the master, Keira is frame left of Matthew MacFadyen's character, and here she is on camera right, but because of the established geography the cut works fine. Matching Singles, respecting the new eyeline: 2. Establish eyelines between individual characters for specific story beats. Remember, there is a 180 degree line between each pair of characters who interact in a scene. Now here's the really clever bit from the scene. Same shot - rack focus to Judy Dench as she speaks to Keira, establishing another new eyeline: Keira's eyeline shifts to the new character on the cut: Slightly different angle, with a cheated eyeline closer to the lens to match the previous angle: The rest of the scene basically plays out in these three shots, with a few cutaways to round out the scene. MacFadyen checks Judy's reaction. Foreground character chokes on his soup. Keira spoons her soup. Regarding shooting angles on every character, this is not always necessary - even with seven characters around a table as above, the scene may only require a master, a two shot, three singles, and a few cutaways to tell the story. Because time is always limited on set, it is more economical to decide beforehand which coverage you can drop and just concentrate on what’s needed to emphasize the story beats in the scene. One additional thought - it’s often better to spend time on specific coverage at the turning point of a scene (assuming the scene is well-written and has such a beat). It may be an insert of an object that a character suddenly notices, or a dramatic eyeline shift, or a sudden change in shot size or angle that emphasizes the moment. These are usually the first shots to get dropped when you’re rushing to complete a scene, which is unfortunate as I believe these shots can really help to make the scene memorable. I hope this has been helpful.
  8. Um, ok then. Takes one to know one? ;)
  9. One of the 4K models, I imagine. You would also have to check if the free version of Resolve actually outputs 4K video. Again, the LiftGammaGain forum would be a good resource for these types of questions. Honestly though, you don't necessarily need to monitor your edit and grade in 4K just because your camera shoots 4K. Monitoring in HD is still a lot more common, as higher resolutions tend to eat up a lot of graphics card resources for minimal benefit, especially once you are working with a lot of nodes or layers. Personally, I don't think monitoring 4K makes a lot of sense unless you're regularly delivering for theaters and other large displays.
  10. Can you at least specify the type of geography and time of day for the plates? Otherwise, you may just have to go as generic with the lighting as possible.
  11. I think the important thing is to shoot or acquire the background plates first. Otherwise, how do you know what to match with your lighting?
  12. If a subway train counts, maybe a few months ago. Otherwise, a few years ago, all over Japan. Trains are a way of life there. Look, I'm aware that is what happens in real life. But I'm not convinced it's necessary, unless it's for a specific story point. Sometimes less is more. I tend to think verisimilitude is great for rides, but potentially distracting for stories. Just my opinion though.
  13. The funny thing is that the 'still rolling' type of shooting isn't cheap, which is the ostensible reason why so many commercial productions insist on shooting digitally in the first place. And if there's a DIT with their full-size cart on set, transcoding and grading everything and going into hours and hours of overtime to do it, I can't imagine that ends up being any cheaper than shipping a bunch of film cans to the lab for processing and scanning.
  14. I don't know anything about that model of monitor, so unfortunately I have no idea. But yes, you'll still need the Ultrastudio because it's not about having compatible computer ports. It's about converting color spaces and getting a broadcast legal video output out of the computer. You should try asking grading specific questions over at: http://liftgammagain.com/forum/index.php, a professional color grading forum. You will get more specific answers there.
  15. That 'dumb cluck' has an Oscar for best original screenplay, and has also worked with a ton of great directors over nearly 30 years. I'm sure he's picked up a few things in that time. Just sayin'...
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