Click here to go to the first RED TEAM post in this thread.   Thread: Ask David Mullen ANYTHING

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  1. #5891  
    You didn't say which camera you'll be shooting with, but two ideas:
    1) Fake it with the "flash" coming from off-camera with something you can control the flash duration with(like a Gemini) to make it slow enough so you don't experience flash-banding
    or
    2) For those specific shots, use a camera with global shutter(like F55 or F35[CCD]) or mechanical shutter(like Alexa Studio or F65).
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  2. #5892  
    Shooting with the Epic-W (weapon). And I guess they're using a polaroid camera. Does anyone know whether those flashes would create banding? Originally i thought it would be a newer digital camera.
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  3. #5893  
    But back to your answer David. Don't the general DJ LED strobes go too fast for a film camera? I don't know of any film rental houses with LED strobes. Do those exist?

    Thanks
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  4. #5894  
    It's not the speed so much as speed PLUS the decay time -- and I'm not sure every club uses LED for strobes.

    All of this pretty much means you have to test in advance. Otherwise, use a global shutter camera for those shots (which I guess means a Sony F55, I don't know who else is using a global shutter.)

    Sure, there must be lighting rental houses with LED strobes -- they used them on "Straight Out of Compton" (shot on a Dragon)... I've been shooting a series set in 1959-60 for the past three years so haven't had to deal with electronic flashes or strobes for awhile.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  5. #5895  
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    After reading the screenplay, i finally decided to watch JB, I know its an old movie of yours but I couldnt pay attention to what's going on in the movie because of your cinematography hahahaha. Im going to go through 590 pages here to see if you shared some lighting set ups. I absolutely loved the look, reminded me of classic thriller/horrror films. Did you add more blue to the HMI'S used for the "moon light"? I absolutely love that type of moonlight color. Did it look like that in camera or was it pushed in post? Sorry if its asked before. Thank you
    Last edited by Jae Solina; 05-04-2020 at 04:38 PM.
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  6. #5896  
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    I am not sure whether the ancestor camera of the BM "big" URSA camera, the original BM 4K cinema production camera has global shutter. The "big" URSA versions one and two are global shutter cameras. The first URSA Mini 4K also had global shutter. Those cameras used a sensor which was either actually or related to the Cmosis CMV 12000 sensor. I think on thae first 4K URSA Mini camera there was a choice of global for normal frame rates and rolling shutter for faster frame rates but I am not sure. The later BM cameras from the 4.6K mini onwards are rolling shutter only. As I understand things, for the movie "Paper Planes", BM4K footage was cut in with Red Epic and Arri Alexa footage and looked fine. A used BM 4K cinema production cameras may be affordable to buy in for the job then resell afterwards.
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  7. #5897  
    We did a digital intermediate for "Jennifer's Body" but there wasn't any unusual look created in post, most of the look was production design and lighting -- as the story went on, I tried to introduce more classic 80's horror film lighting touches. Moonlight was mainly uncorrected HMI, sometimes a bit of the blue taken off (1/4 CTS), sometimes a bit of green added I think (1/4 Plus Green).

    The only digital look we created was in some of Megan Fox's close-ups after she had "fed" and gotten more glamorous, we did a little skin-smoothing.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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  8. #5898  
    Senior Member Mark K.'s Avatar
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    Hey David,

    I binged my way through Marvellous Mrs. Maisel recently (and just loved it), and there was one scene in particular that did pull me out of the show a bit because I just HAD to know how you did it. There was a scene, set at night (in Central Park I think) where Joel and Archie are smashing baseballs towards the camera. How was that done? Was it shot for real and the camera + operator tucked behind a perspex shield? Or were the balls added in VFX?

    Cheers
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  9. #5899  
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    Quote Originally Posted by Robert Hart View Post
    I am not sure whether the ancestor camera of the BM "big" URSA camera, the original BM 4K cinema production camera has global shutter. The "big" URSA versions one and two are global shutter cameras. The first URSA Mini 4K also had global shutter. Those cameras used a sensor which was either actually or related to the Cmosis CMV 12000 sensor. I think on thae first 4K URSA Mini camera there was a choice of global for normal frame rates and rolling shutter for faster frame rates but I am not sure. The later BM cameras from the 4.6K mini onwards are rolling shutter only. As I understand things, for the movie "Paper Planes", BM4K footage was cut in with Red Epic and Arri Alexa footage and looked fine. A used BM 4K cinema production cameras may be affordable to buy in for the job then resell afterwards.
    The AJA CION used the Cmosis sensor and is global shutter. Of that generation I think it had the best IQ once they got their color science sorted, but a bit more limited dynamic range overall.
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  10. #5900  
    We used foam baseballs but some were changed in post. I think at some points when the camera got too close to being hit, they mimed the hit (they deliberately missed the ball) and I think a few times they accidentally missed and the ball hit was added.
    David Mullen, ASC
    Los Angeles
    http://www.davidmullenasc.com
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