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Hello filmmakers, I startet a discussion in "Anamorphic Shooters" on FB on this topic, but we couldn't come up with a definitive answer… some said I might have better luck here especially with input from @David Mullen that has very good Panavision insights. When the golden area Bond movies started using anamorphic lenses with "Thunderball" and "You Only Live Twice" the anamorphic characteristics are very much muted. Of course, it was the fashion of the time to work with high f-stops to make the lenses "bite" and get deeper DoF… flares where mostly considered a flaw and where avoided when possible. All that is possible given enough light when using the 100 iso film stock of that time. But then, there are scenes like the attached image shows. Considering the low sensitivity and that it is impossible to light the street all the way that must have been shot relatively wide open… why the hell do the distant lights don't fall off into oval shapes?!? It is definitely an anamorphic lens used here as the (very muted) flare proofs. That seems to be true for all shot… elongated highlights are rare and very muted. The Panavision C that where supposedly used for "You Only Live Twice" (even though they where introduced a year after the movies release?!?!) have quite expressive anamorphic features. Blade Runner was shot on them too… (in an updated, altered version of course) If you will… please enlighten me

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

I just watched this last night for the very first time. A great film with a very tender story, excellent acting and stunning cinematography. David - I've been searching the archives for the answers to a few questions I have for you. For one thing, all of the exteriors were absolutely stunning. Did you add anything to the opening sunrise/sunset shots or was that all natural light? Looked like natural light to me. Also, I was very curious as to how you lit the rocket in these shots: Finally, I loved the saturated colors. They felt like a visual homage to the very vibrant period in America history when the actual NASA Space Program was in its glory. It also seemed to be the visual depiction of what Farmer later says about "dreams." Anyway, I was just wondering if you used any warming filters to create that effect. Great work as always, David! I think this one just became my favorite of all your works.