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Satsuki Murashige

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About Satsuki Murashige

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  • Occupation
    Cinematographer
  • Location
    San Francisco, CA

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  1. It’s been interesting watching younger people on YouTube reacting to seeing older movies for the first time during this pandemic. It’s nice to see that films like ‘Seven Samurai’ and ‘12 Angry Men’ with such a different photographic aesthetic to our modern tastes can still be just as emotionally engaging for them as they were for us. Audiences are more capable of seeing beyond their habituated experience than we realize sometimes.
  2. In contrast, here's a similar key light position on a different project, but with an ARRI Skypanel: We put a softbox on to use the silver reflector material, but removed the front diffusion to try and get a similar feel to the Joker Kurve. You can see how much flatter the light feels. More natural looking, perhaps. But also less glamorous, in my opinion.
  3. Hard-ish beauty lighting with the Joker Kurve, with some BTS so you can see the lighting setup.
  4. Also, part of using a hard-ish key light is that you will get more specular reflection in the skin. That’s why lights like the Briese are so popular for fashion shooting. These lights are like circular soft boxes, but they are intended to be used without the white diffusion in front. So you get a small hard source in the middle that is also spread out by the large silvered reflector material around it to wrap around the subject more than a pinpoint source would. K5600 make accessory attachments for their Joker lights called the Kurve which are similar to the Briese and cheaper.
  5. Probably large tungsten fresnels, but David can tell you for sure. Actually for beauty, a lot of times shine is added to skin makeup to get a moisturized look. You don’t want a dull matte pancake look, you want the skin to glow and look alive. It goes without saying that the subject needs to have great skin to pull it off. I shot one indie web series project where we had a very long layoff. After coming back to continue shooting, the main actress had major skin troubles after getting a bad spa treatment. We ended up using very matte makeup and lighting her very flatly to help as much as we could. I don’t think we were as successful as we would have liked, unfortunately. The series was all shot on practical locations in a doc style, so ‘the fix’ didn’t fit what we were doing at all.
  6. See, if you only shot on film with an old B&W video tap, no one would have bothered you until after the check cleared. 😁
  7. Also, lighting to a higher overall light level will help the subject’s eye pupils close down if you want to see more color in the iris. Just be careful not to use so much light that the actor is forced to squint, some actors with light eyes are very sensitive to this. Models on the other hand are usually used to it.
  8. To begin with, hire extraordinarily beautiful people to be in front of the lens. Hire the best hair and makeup artists. Use softer lenses and lens diffusion filters as needed. Keep the key light high and frontal to emphasize the cheekbones, minimize the shape of the nose, and define the shape of the jaw. Fill the eyes as needed to add sparkle and fill in any under-eye shadows. Don’t use too much fill, or you’ll flatten out the contrast too much.
  9. Yes, I think the term has different connotations in still photography, especially if you’re dealing with natural light much of the time. You will also find cinematographers who use the term this way when describing a general look to the director or colorist. The purpose of having the specific terms of Quantity, Quality, Color, and Direction in cinematography comes from the need to communicate with the gaffer and the lighting crew in order to get the result you want. It helps them order the right lighting units, gels, and rigging gear that might normally not be on the truck. If they know that you want a 5600K light, 4 stops over, filling the kitchen window and coming down at a high angle from camera left on the scout day, then they can order the right gear to make that happen on the shoot day. And see if it’s even in the budget to do. With regard to Quantity, if you can tell the gaffer roughly how many footcandles you need out of the big units, even better. You may have some special camera effect like over-cranking or cut-shutter that will affect the exposure. But if you factor that into your estimate, then the gaffer doesn’t need to worry about it.
  10. The Bev Wood episode was particularly good, as it’s a perspective we don’t hear often enough.
  11. Thanks Justin, perhaps I misread his intent then. My apologies if that is the case.
  12. Thanks Mark, that’s fair. Perhaps I misread a bit of irritation toward the younger filmmakers in his response.
  13. You can really see the effect of the assassinations of the Kennedys and MLK, Vietnam, and the violent racist backlash to the Civil Rights movement on popular American culture back then. Just like now, many people back then preferred escapism in their entertainment. There’s a reason Marvel movies do so well in these dark times...
  14. If you think that’s bad, you’d be shocked by the behavior of many of the great directors of the past (and a few current ones). The documented abuse some of them heaped on their actors and crew were incredible. But they were still loved by those around them despite it. Pretty wild from our modern perspective.
  15. Apparently so. He’s not into being rushed or being told how to do things. He sees himself as an artist, and I think he gets very frustrated with conventional thinking.
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