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  1. #5881  
    There's a mix of both. Sometimes the green reflection will be turned neutral or desaturated in color-correction. Period shows tend to use period frames with uncoated lenses.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  2. #5882 daytime exterior 
    hi david,

    hope you're staying safe inside. seems like a good time for being online and continuing discussions and questions.

    i'm curious, if you're in a situation in a daytime exterior (on a sunny day) setting where you can't just bring a flyswatter in to cut down the sun, how do you deal with a bounce to counteract the very hot sun. it seems when the sun is super hot on the talent, and you need a lot of fill out of a bounce, you have to walk it in relatively close to get enough out of it, and then the actor has trouble with such a bright bounce that they have to squint their eyes... obviously that's an issue, and you have to walk the bounce back or make it more side-y.
    so just curious how you deal with this issue.

    thanks so much for having yourself available as always.
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  3. #5883  
    it's easy to overdo the fill outside, I don't think you need it a lot of the times. I often use a Day Blue Muslin or I put a Single Net scrim over a white bounce to knock it down, and usually an actor is OK with that level. But if an actor is standing in full sunlight, they might be squinting no matter what.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  4. #5884  
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    Hi David,

    How would I achieve lighting like this shot... I like the bulbs color, the overall color of the light coming in the windows aswell. What color temp would the camera need to be aswell? I love the look in there will be blood when the actor Daniel Day-Lewis is talking to his son.

    Thanks in advance :)

    https://film-grab.com/2010/08/16/the...bwg1704/106259
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  5. #5885  
    Quote Originally Posted by Daniel Porto View Post
    Hi David,

    How would I achieve lighting like this shot... I like the bulbs color, the overall color of the light coming in the windows aswell. What color temp would the camera need to be as well?

    https://film-grab.com/2010/08/16/the...bwg1704/106259
    Depends on whether you were lighting a set or working on location with real daylight. If that's real daylight (I assume) then I'd probably set the camera to around 3700K to 4000K to get that cold cast. The tungsten wall sconces would be dimmed down for even more warmth. The movie was shot on film so I assume 3200K stock without a correction filter.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  6. #5886  
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    Quote Originally Posted by David Mullen ASC View Post
    Depends on whether you were lighting a set or working on location with real daylight. If that's real daylight (I assume) then I'd probably set the camera to around 3700K to 4000K to get that cold cast. The tungsten wall sconces would be dimmed down for even more warmth. The movie was shot on film so I assume 3200K stock without a correction filter.
    THanks David! Just to confirm, was it 3200K stock with or without a correction filter? I think you meant with. thanks
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  7. #5887  
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    I was thinking, shoot daylight stock and full blue gel on the HMIs coming in the windows...
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  8. #5888  
    Tungsten stock with no 85 filter. Why use daylight stock and then gel everything daylight blue with it is naturally blue on tungsten stock?
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  9. #5889  
    Hi David,

    Just curious, I might have a shoot in the future dealing with showing a still camera flash going off a few times. I know there's some weird artifact-ing that happens because of how quick the digital shutter on new still cameras is in comparison to the 24fps of the film camera. Besides old style flash bulbs and lighting strike units off screen, is there any other way to deal with this? Just the mole-richardson shutters? And if you're looking at the still camera flash itself, does that just have to be done in post?

    Thanks,
    - dan
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  10. #5890  
    I don't know if now there are LED strobes for onboard flashes for they tend to have enough of a decay time to not create that rolling shutter artifact. But you can definitely use off-camera LED strobes.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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