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  1. #5721  
    I'm afraid the answer is that you either have to stop down a little and live with the hard sun as part of the look... or drive in a different direction so that the sun is more coming from behind.

    Here's a car scene I did in the TV show "Get Shorty" with a hostess tray mount and available light:


    When we did the reverse angle we just drove with the same backlit background, but at times the road curved around and the sun came around more frontally, which didn't look great but it was acceptable -- it's realistic after all as long as you don't have clipping problems.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  2. #5722  
    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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  3. #5723  
    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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  4. #5724  
    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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  5. #5725  
    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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  6. #5726  
    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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  7. #5727  
    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 09:08 PM.
    David Mullen, ASC
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    http://www.davidmullenasc.com
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  8. #5728  
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    David, your work in Mrs. Masiel looks amazing. I just got one of the LG OLEDs and the show looks phenomenal on it in 4K HDR.

    I have to ask how you did one of the shots though. Episode 4 about 2 mins into the episode, there's a steadicam shot that circles around Miriam and transitions from a flashback of a New Years Eve party to her now empty apartment. First I thought motion control, but it's such a long shot. So maybe Steadicam? I can't see where the cut is...did she just stare at the fireplace in both versions and they morphed the two steadicam shots with VFX?
    David Kudell
    Video Producer/Director
    Rimrock Creative Media
    rimrockcreativemedia.com
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  9. #5729  
    It would have made life easier for the visual effects team if it had been motion control, but because it's sort of a figure 9 move and then pull away, there's no way to move on track for that so it was done on a Steadicam, using overlay playback to match the second move as much as possible to the first. I framed everything for a 10% crop to give post more room for reframing to line up the two shots. Some morphing and replacing elements had to be done to make the transition seamless and we made sure that her two outfits were similar in design.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  10. #5730  
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    David, thank you for your generosity to share knowledge and support this thread for so many years.

    Have you had the opportunity to try the Angenieux EZ-2 and EZ-1 zooms configured for S35? If so, how do they compare to Angenieux's Style or DP lines?
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