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  1. #3971  
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    Quote Originally Posted by David Mullen ASC View Post
    If could shoot at dusk or really dark overcast, then I'd try flying an HMI Chimera Ball or Pancake light ahead of the actress for a soft toplight effect, though it may be tough to move with the actor and camera.

    If you could run with the Chimera Ball somehow hanging just below the camera lens and to one side, you could try that, but it may be hard to take turns together (the camera and the guy behind holding a light out on an arm.) Maybe holding it just above the lens might be easier.
    I'll try it!
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  2. #3972  
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    http://www.dvdbeaver.com/film2/dvdre...ge_blu-ray.htm
    As you can see on this new Argento restoration Storaro choosed his own AR (Univisium) in Arrow Video bluray he also created new look.Do you know why he reframes his movies?
    EPIC-X 7424
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  3. #3973  
    He believes in his 2:1 format very strongly.

    It's not a bad idea, and 2:1 is very pleasing shape to compose in, but I also believe a single aspect ratio goes against human nature, or at least, artistic temperament. As you as you institute one as the only standard, people naturally want to distinguish themselves by going against the standard... Which is one reason we got widescreen cinema in the first place, it was dramatically different than the 4x3 Academy standard at the time.

    I'd be more than happy to just have two formats, perhaps 1.78 and 2.40, just to simplify things and create two choices that look different enough from each other... In fact, I'd almost prefer 1.66 over 1.78 or 1.85 just to create a bigger difference with scope. But 2:1 is a good compromise if you only could have one. But I think we are sort of stuck with 1.78 because of all the 16x9 monitors and cameras out there.
    David Mullen, ASC
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  4. #3974  
    Storaro and Jim Jannard are similar in that they fall into that category of visionaries that they see what might be and ask "why not?"
    David Mullen, ASC
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  5. #3975  
    Hi David,

    Much respect. My question is about playing with the white balance control in order to bias the camera toward yellow.

    Is it a good idea, if I want a yellow desert gritty crime look? Would I preserve more quality that way instead of pushing it yellow in post?

    It's a little Canon HG20 with an anamorphic lens mounted on the front. I'm looking for that indy sleazy stuck in the desert feel.
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  6. #3976  
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    Hi David,

    I was on a shoot yesterday and had a problem with some string lights. We had several string (Party lights) which are 240v (Im in Australia) and low wattage 25watt, there are normally 10 in a row and they are multicoloured. There were 5 sets hanging from the roof of a ceiling and were getting powered from house power and I tried the generator we had also.

    The problems is that the director wanted to shoot at 35fps at 3K on my Red MX and the lights would flicker, I tried adjusting shutter angle, different speeds but they would still flicker. If i shot at 25FPS standard speed they wouldn't flicker.

    Any ideas? Normally adjusting the shutter angle would fix this so I don't know if it is due to the rolling shutter of the RED?

    Thanks in advance
    Adam Eden
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  7. #3977  
    Don't know what the problem was, you should have been able to find a shutter angle / frame rate where they wouldn't have flickered. Did you try 50 fps?
    David Mullen, ASC
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  8. #3978  
    Quote Originally Posted by Joe G. View Post
    Hi David,

    Much respect. My question is about playing with the white balance control in order to bias the camera toward yellow.

    Is it a good idea, if I want a yellow desert gritty crime look? Would I preserve more quality that way instead of pushing it yellow in post?

    It's a little Canon HG20 with an anamorphic lens mounted on the front. I'm looking for that indy sleazy stuck in the desert feel.
    I don't think it makes much difference whether you do it in-camera versus later, either way you are just playing with the RGB gain levels -- the only (possible) advantage of doing it in-camera with white balance just might be that it happens pre-compression. Even better would be to use a yellow-ish filter... but in general, adding yellow is not hard to do in post.
    David Mullen, ASC
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    http://www.davidmullenasc.com
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  9. #3979  
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    It was a music video so they couldn't sing that fast!
    Adam Eden
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  10. #3980  
    Thanks, David.
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