Ask David Mullen ANYTHING

[David Mullen ASC]

Yes, as a cinematographer, I'm not the best person to ask about sound recording or sound post questions except in very broad terms, or in terms of how sound impacts cinematography.

[Martin Stevens]

Hello David,

Thank you for your wonderful reply the other day.

What feature films have you shot with a Red One camera, and are they on DVD yet?


Regards,
Martin Stevens

[David Mullen ASC]

I shot "Manure" and "Stay Cool" last summer. They are both looking for distribution. "Stay Cool" just played at the Tribeca Film Festival last week in a temporary HD version. "Manure" was at Sundance in January, also shown in HD. Neither have been completely finished.

I look forward to my next RED feature so I can finally apply everything I've learned to date.

[Martin Stevens]

Per chance would you know if there are any DVDs out of films that were shot with a Red One camera? Perhaps this should be asked elsewhere.

Martin

[David Mullen ASC]

I'd ask elsewhere on the forum. There may be some indie movie, etc. shot on the RED that is already out on DVD. As for major features, "Che" may be coming out soon on DVD and I'm sure "Knowing" will be out eventually -- but you can go see that in movie theaters right now.

"Jumper" is out on DVD and has a few shots done on the RED.

[Martin Stevens]

Hello David,

How much Dynamic Range do you think film has, and how much Dynamic Range do you think the current Red One sensor has?

I keep thinking that perhaps the answer is 14 Stops for film, and 10 to 11 stops for the Red One. I eagerly await the Monstro Sensor. Also, I will be watching the DVD of "Solstice" soon.


Martin

[David Mullen ASC]

Unless the same person measured both with the same tools and used the same parameters for deciding what was usable detail and what was buried too far into noise to be counted as a "stop", you aren't really going to get an answer that isn't mired in politics.

Suffice to say that color negative film probably has at least three stops of usable exposure information beyond what most digital cinema cameras can record -- mostly in the bright highlights.

[Martin Stevens]

Do you consider a 25mm lens to be a normal lens for Super35 work? Or a 35mm etc. I'm trying to compare this to a 50mm normal lens for FF35 Still work.


Thanks,
Martin

[David Mullen ASC]

Well, the magnification factor between Super-35 and FF35 is 1.5X, so if you feel that a 50mm lens is a "normal" lens, then you'd be looking at a 35mm focal length in Super-35 for a similar view.

Which is around what I think is "normal" -- I don't really believe in the concept of a "normal" lens, but certainly there is a range of middle focal lengths that do not exaggerate perspective or subject size. In Super-35 shooting, generally for me it's the 35mm and 40mm lens. In a pinch, I'd include the 27mm and the 50mm at either end.

[marasco ivan]

hi mr.mullen.
i have two question for you:

a:what is ,in your experince, the 35mm lens(brand and model) with the most beautiful flare?

b:wich filter do you suggest me to use on a light to reproduce the color of the early morning sun with also a pink tint?
i will use a 5.500°k balanced camera.
what the solution if i use a tungsten light?
what the solution in case of hmi light?
thanks
ivan