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  1. I try and not use fill unless it is necessary and...

    I try and not use fill unless it is necessary and then as little as needed. Film has a lot of overexposure latitude so you can expose for how dark you want the shadows to look outdoors. Slow film is...
  2. Because with film, particularly 50 ASA film, you...

    Because with film, particularly 50 ASA film, you aren't using super-heavy ND's, plus film is less sensitive to IR than digital sensors are, IR pollution hasn't been much of an issue with film (though...
  3. Yes, you wouldn't need anything heavier than a...

    Yes, you wouldn't need anything heavier than a 1.2 with 50 ASA film, maybe not anything more than an ND.90 if you are rating the film at 32 ASA.

    The old "Sunny 16" rule says that in frontal...
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    Sticky: It’s the anti-reflection coating. You could use...

    It’s the anti-reflection coating. You could use glass with no coatings and have much brighter reflections that are neutral...
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    Sticky: I don’t see multiple flashing units being out of...

    I don’t see multiple flashing units being out of sync as a problem, might help make the lightning feel more organic.

    Yes I made a pipe grid with about a dozen Skypanels on it.
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    Sticky: I used balloons for a horror movie I shot in the...

    I used balloons for a horror movie I shot in the swamps outside of New Orleans years ago, because the ground was soft or non-existent, so it was easier to float balloons. However, on some nights the...
  7. Look at the frame grabs for these two movies --...

    Look at the frame grabs for these two movies -- most of them were shot with a 40mm Panavision anamorphic lens in 4-perf 35mm.

    http://www.dvdbeaver.com/film/DVDCompare7/rushmore.htm...
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    If you want more of a hazy, milky halation, try a...

    If you want more of a hazy, milky halation, try a Tiffen Smoque filter.
  9. 40mm is the classic moderate wide-angle...

    40mm is the classic moderate wide-angle anamorphic lens if shooting a sensor area similar to 4-perf 35mm anamorphic (about 21mm x 17.5mm). A lot of “Raiders of the Lost Ark” was shot on this focal...
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    On "The Love Witch" (35mm film / Zeiss Super...

    On "The Love Witch" (35mm film / Zeiss Super Speeds) I mostly used a combination of a black veil material I stretched on a frame plus a 1/8 Classic Soft.
    ...
  11. Panavision created their own version of the ARRI...

    Panavision created their own version of the ARRI VariCon, again it fits into a 6x6 matte box:
    https://www.youtube.com/watch?v=uw8YkpdSxrI
  12. It's an interesting issue, even if shooting film...

    It's an interesting issue, even if shooting film today -- flashing fogs the image and affects the shadows more quickly than the highlights. The question is always whether the lowering in contrast is...
  13. I use the Helios 58mm sometimes on my mirrorless...

    I use the Helios 58mm sometimes on my mirrorless Nikon Z6, not sure you can use it on a DSLR Nikon...
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    It sounds like you weren't interested in a...

    It sounds like you weren't interested in a hand-cranked effect, but in the effect of under-cranking.
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    Take a look at the opening of "Avalon", shot by...

    Take a look at the opening of "Avalon", shot by Allen Daviau at 16 fps and step-printed back to 24 fps:
    https://www.youtube.com/watch?v=8vWKJbQT06o
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    That's interesting but nothing like the way...

    That's interesting but nothing like the way hand-cranked silent movies looked, usually shot 16 to 18 fps with a 180 degree shutter...

    I mean, look at Buster Keaton's "The General" -- the motion is...
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    Divide 2.39 by 1.5 and you get 1.593333..., so...

    Divide 2.39 by 1.5 and you get 1.593333..., so 1.59 : 1 is the aspect ratio of the sensor area that would get used to create a final 2.39 image if you crop and then unsqueeze by 1.5X. Ideally you'd...
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    A shutter at 360 degrees is open 100% of the time...

    A shutter at 360 degrees is open 100% of the time -- you can't have a camera take a picture 24 times a second, for example, and expose each frame for longer than 1/24th of a second without breaking...
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    Sticky: It’s not uncommon for sets to be missing ceilings...

    It’s not uncommon for sets to be missing ceilings and having a grid up there for lights. I prefer ceilings because there is lower contrast from the ambient bounce, plus I can always add a bounce...
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    Sticky: We used Rain-X on the front glass filter for a...

    We used Rain-X on the front glass filter for a shot like that but we had to keep reapplying it. There are rain spinners and you could try sneaking in some blast of air from a nozzle.
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    Sticky: I don't know the situation, there was probably a...

    I don't know the situation, there was probably a practical source in the room mixing with his soft key light. In real life, people often have more than one light hitting their face.
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    Sticky: https://www.youtube.com/watch?v=osNTNQxzsuI&featur...

    https://www.youtube.com/watch?v=osNTNQxzsuI&feature=youtu.be

    Season 3 trailer has been released.
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    Unless you're talking about needing more people...

    Unless you're talking about needing more people to carry cases of equipment, it takes the same number of people to set-up and work a big or small camera. Just depends on what you are trying to do...
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    You'd need a rotating tray/mattebox.

    You'd need a rotating tray/mattebox.
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    A very good interview, and it jibes with my way...

    A very good interview, and it jibes with my way of working with LUTs.

    I think a lot of beginners looking for some "trick" to getting good results think the LUT is a magic bullet. I see people...
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