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Chris Pilarski

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About Chris Pilarski

  • Rank
    New
  • Birthday July 30

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles

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  • Website URL
    http://chrispilarski.com/
  1. Hey Tyler, For example (although this is just a different ASA [ASA 100 vs. "native" ASA 800 on an ALEXA] David mentioned the following: "I'm shooting most of the movie on the slowest speed tungsten stock available, Kodak Vision-3 200T, rated at 100 ASA in order to get the printer lights up higher for more saturation and contrast.This means I need to get up to 100 foot-candles of key light just to achieve an f/2.8. For day interiors scenes on stage, that's a lot of light and a lot of heat." But I see your point. I should have rather asked what y'all would like to try out in a Giallo movie. But instead of talking about how to print/process film I wanted y'all to focus on everything else (like lighting, composition, color, in-camera effects).
  2. Hi everyone, I have recently watched The Love Witch which was shot by David Mullen, ASC. My wife and I absolutely loved the film. On Wikipedia the movie is described as a "comedy horror film" and a "playful tribute to 1960s horror and Technicolor film". My question is: Can this movie be described as a Giallo film? If so, why or why not? The film was shot in "standard 4-perf 35mm 1.85 on an Arricam ST and plan on a photochemical finish, and then a transfer to digital from a timed IP". I would love to discuss the approach of shooting a "giallo" film digitally from pre- to post-production / how different the approach/results would have been in this case (The Love Witch). For example: The use of color (using tungsten and gels vs. RGB LED | speed vs. cost. vs. quality of light etc.) hard-light style with digital sensors (which I don't see that often anymore, but I might be wrong) production design, HMU, costumes in-camera effects (like kaleidoscope lens and gels in front of the lens) filters, mirrors, lenses and more... P.S. David, I loved reading you creating a red vignette by cutting out an oval in a red party gel and taping it to the matte box. It takes years to build such a solid foundation of knowledge, experience, and confidence to know how to achieve certain results. Are there any more photos or lighting breakdowns from The Love Witch you would be willing to share with us? Thank you David for sharing so much knowledge and for creating such beautiful art. I am looking forward to grow and learn more about cinematography from you and other masters of cinematography. Here a a few links I found about the film (very interesting read): https://ascmag.com/podcasts/the-love-witch-m-david-mullen-asc https://ascmag.com/articles/the-magic-of-hard-lighting-for-the-love-witch https://nofilmschool.com/2016/11/the-love-witch-anna-biller-interview
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