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  1. #5721  
    Thanks, I shot the pilot of "The Marvelous Mrs. Maisel" and three more of the episodes along with DP Eric Moynier.

    Alexa Mini with Panavision Primo lenses, 1/4 Schneider Hollywood Black Magic diffusion most of the time. Recorded 3.2K ProRes 4444 Log-C for a UHD / HDR finish at Light Iron NYC.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  2. #5722  
    Senior Member Nick Morrison's Avatar
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    Quote Originally Posted by David Mullen ASC View Post
    Thanks, I shot the pilot of "The Marvelous Mrs. Maisel" and three more of the episodes along with DP Eric Moynier.

    Alexa Mini with Panavision Primo lenses, 1/4 Schneider Hollywood Black Magic diffusion most of the time. Recorded 3.2K ProRes 4444 Log-C for a UHD / HDR finish at Light Iron NYC.
    Fantastic, thanks so much. Looks lovely.
    Nick Morrison
    Founder, Director & Lead Creative
    // SMALL GIANT //
    smallgiant.tv
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  3. #5723  
    Senior Member Hugh Scully's Avatar
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    The show looks fantastic and really captures a certain optimistic spirit from that time. The look is great but what I really like are the long, well blocked shots They are so well done. Kudos to the operators. Can you share how those shots are designed and executed and the challenges they pose? Is it all steadicam? Do you use stabilization in post to nail the landings or do you employ a crab dolly on a dance floor? I really love this style of camera movement. It seems modern but with a classic lyrical feel.
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  4. #5724  
    It's mostly very good Steadicam operating by Jim McConkey on the series and Maseo Bishop on the pilot. Jim uses some extra device under the camera body ("Wave"?) that keeps the horizon level as he turns corners, etc. Adds some weight of course. On the pilot, we either used the 21mm or 27mm Primo for those shots but we found a rare 24mm Primo for the series that became our hero lens for Steadicam work.

    Amy Sherman-Palladino has been designing complex moving camera shots ever since "The Gilmore Girls"; she wants to play many scenes with as minimal coverage as necessary but she wants a lot of energy so there is a lot of movement of actors and camera often from room to room. My challenge of course is lighting those moves without getting camera shadows or without seeing any lighting units. Sometimes I hide Litemats or Sourcemaker Blanket Lights in the ceiling, otherwise I rely a lot on practicals dressed in the set.

    We've also done some elaborate Technocrane shots and once attached a Movi with a magnet to a telescoping arm in order to first fly over the heads of a crowd and then turn it into a shot that moves through a room and out a door into another room.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  5. #5725  
    Senior Member Hugh Scully's Avatar
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    Thanks for the reply, David. That is some stellar steadicam operating. Wow. Thanks for the details on lighting and lenses. I’m looking forward to going back to watch the series again to study those shots. You mentioned placing Litemats in the ceiling. Are those Upper West Side apartments locations?
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  6. #5726  
    The apartments were real locations on the pilot and then recreated for the series, but we generally don't pull ceilings or walls when we shoot (plus most of the walls are double-sided so aren't easy to move.) But at least with the sets I can screw in a mounting device into the ceiling rather than use wall spreaders.

    For the pilot, we rigged 4'x4' Sourcemaker LED Blanket Lights with Light Control soft grids, one over the center of the living room, and two side by side for the foyer, and the kitchen, using wall spreaders.
    Last edited by David Mullen ASC; 12-07-2017 at 10:08 PM.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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