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  1. #1001  
    Moderator Tom Lowe's Avatar
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    ha, nice. David himself got the 1000th post. :)
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  2. #1002  
    Hi, just spent two days catching up on this thread and so wish more threads were as concise and interesting. Refreshing to see lack of flames and over opinionated POV's. My first question is in relation to reflecting off cards/boards for interiors. Have you tested or is there any knowledge on using boards that have gradients printed on them? To get that fall off affect? or is the effect just to soft to work with?
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  3. #1003  
    Usually you would use a Double of Single Net flag to feather-off the intensity of a bounce or diffused light. A graduated bounce card would probably just be less efficient and less soft. I have wondered though about creating large grey cards, because sometimes a white card has the right amount of softness from a bounce, but is too bright.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  4. #1004  
    David,

    I assume you have used the F900 in various shoots. Have you had problems with CA in some of the B4 zooms like the Fujinons? How big of an issue was it for you? Have you avoided these lenses because of this?

    Thanks,
    Phil
    www.artbeats.com

    PS: Will you be attending NAB?
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  5. #1005  
    I've seen a little CA but not enough to bother me -- breathing is a much worse problem I think in some of the longer-ratio zooms.

    No, I can't get to NAB this year -- I'm shooting a feature in Vancouver until mid-May.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  6. #1006  
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    I was reading your interview on http://www.fromscripttodvd.com/mullen_interview.htm, and if I understand correctly, you mentioned something along the lines of telephoto lenses producing images which are both more abstract (hence potentially more pleasing as stand-alone images), and less immersive (hence less useful for pulling the audience into the film).

    Is that correct, would you say that using a long lens is a short-term investment which produces a more pleasing frame on-the-spot, but ultimately hurts the immersion into the world of the story?

    edit: I am asking this because I usually get this impression that deep focus and short lenses immerse the viewer better, but I sometimes get the opposite impression: that using a long lens with a very open framing on something which is geographically at the center of the scene (with other elements partially appearing only as non-specific blobs) gives this feeling of being at the heart the scene. It's a bit confusing: is there a general tendency of short lenses being just 'better' for the drama?


    Thank you.
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  7. #1007  
    Quote Originally Posted by David Mullen ASC View Post
    Usually you would use a Double of Single Net flag to feather-off the intensity of a bounce or diffused light. A graduated bounce card would probably just be less efficient and less soft. I have wondered though about creating large grey cards, because sometimes a white card has the right amount of softness from a bounce, but is too bright.
    Thank you. So how far from the reflected material would the net flag go generally. It there a percentage point between reflector and subject or is it just a matter of playing around to get the desired effect?
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  8. #1008  
    Generally the net is far enough away from the bounce (or close enough to the subject being netted) that the object you don't want to get netted is facing the open gap between the net and the bounce card. If the net were just up against part of the card, all you are doing is making the bounce darker overall.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  9. #1009  
    Quote Originally Posted by benfilm View Post
    I was reading your interview on http://www.fromscripttodvd.com/mullen_interview.htm, and if I understand correctly, you mentioned something along the lines of telephoto lenses producing images which are both more abstract (hence potentially more pleasing as stand-alone images), and less immersive (hence less useful for pulling the audience into the film).

    Is that correct, would you say that using a long lens is a short-term investment which produces a more pleasing frame on-the-spot, but ultimately hurts the immersion into the world of the story?

    Thank you.
    I don't mean emotionally immersive, just physically immersive on the big screen, that a moving (forwards or back) wide-angle shot on the big screen tends to create a stronger sense of motion and mimics human viewing experiences, plus you often see more of the location surrounding the actor. However a long lens with shallow focus is more selective in what you see in focus, so that can also make an object stand out more for the viewer and perhaps minimize a distracting background. There is no right or wrong choice.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  10. #1010  
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    What was the general rule of thumb for falloff (something to do with inverse...). Is there a more practical method of understanding and making use of it? I love the shadow falloff on classical paintings (they use candle light, right?)... but can that be created on set or is it done in post? My lights are always too bright, not bright enough, etc. I usually end up getting the level of control I want on my shadows in post. Maybe I just don't have enough equipment (flags, filters, scrims, nets, etc.)?
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