Ask David Mullen ANYTHING

[MichaelHalsell]

David, could you list a couple of films shot with Panavision Primo primes? Also, in your opinion, what lens set matches the Primos in terms of contrast and flare management? Thanks.

[David Mullen ASC]

There are too many Primo lensed shoots to mention, almost anything shot on a Panaflex is probably using Primo lenses. The "Pirates of the Caribbean" trilogy is one big-budget example.

I think the Zeiss Ultra Primes are similar.

[MichaelHalsell]

Thank you.

[Christopher Grant Harvey]

Christopher: we have been discussing this in another thread about full frame and 645 epic (David has made a number of posts over there as well.) At 9K the 645 Epic is about the same size and resolution as actual IMAX film and wouldn't require any multicamera rigs and could use existing medium format still lenses or Imax lenses.

Epic X, Epic FF35 and IMAX... thread:

http://reduser.net/forum/showthread.php?t=38767

Thanks for this.

[Christopher Grant Harvey]

One of the strengths and weaknesses of the 3-camera Cinerama was that each third of the final 2.66 frame had its own vanishing point (each camera had a 27mm lens on it by the way, for a total view of 144 degrees.) This created a lot of distortion, particular when the camera was not dead-on to the horizon line. On the other hand, there was no barrel distortion as a super wide-angle lens with a 144 degree view might have. But it had the odd effect on the big screen that no matter where you stared at the image, you seemed to be staring into the center of it.

Thanks for the explanation David.

It seems it is better to wait for a bigger digital sensor then.

[Brad Webb]

What is the difference between a zoom and a variable prime? Is there even a difference?

[David Mullen ASC]

Not really a difference, though in theory a variable prime is not designed to be zoomed during the shot because artifacts that happen in motion (shifting, ramping, etc.) don't have to be designed out if it's just going to be used as a variable prime. However, those Zeiss Variable Primes worked fine as short zooms.

[Colin Edelman]

Hi David,
I was linked off the Rubber Monkey Software page. For a RED workflow, I'm doing just fine, but the Sony EX3 camera is where I run into turn. In FCP 6.0.5, I have XDCAM EX 1080p24 quicktimes with timecode created by the camera.

I was hoping you could help me out regarding exporting a still image sequence (tiff or DPX) out of FCP that will preserve the timecode. I'd take this image sequence to a color correct, so they can apply the grade and I'd receive a D5 with same timecode from my dailies so that the conform can use an EDL from FCP.

The alternate workflow I am using now is to make 5 second handles on each cut before making an image sequence and at the conform the flame artist sets in and out point of 5 seconds for each side of the cut. It comes down to eye matching over the exactness of an EDL.

Is there a program equivalent to Monkey Extract that can read the original .mp4 file from an FCP XML file and create timecode embedded DPX sequences or any another workaround?

Thank you,
Colin

[Stephen Williams]

What is the difference between a zoom and a variable prime? Is there even a difference?

Hi,

AFAIK the Cooke 20-60 was the first Variable prime, it was of equal quality to Prime lenses at the time it was introduced, the same is true of the Zeiss Variable prime which is as good as ultra primes.

Stephen

[Joe G.]

David,

I have a pretty big question. What should the role of tungsten lighting be with the next generation of digital cinema cameras?

I know that you have written how you like the look of tungsten on faces. If the sensors and processing are up to the task, then are we going to want to see more tungsten than daylight? It seems all the classics have that pink/red facial lighting that really stands out.

How do you decide about tungsten vs. daylight bulbs when you shoot digital?