Ask David Mullen ANYTHING

[David Mullen ASC]

Read this:
http://en.wikipedia.org/wiki/Anti-reflective_coating

Lens coating for photographic lenses was developed to improve lens speed & light transmission by reducing light loss from scatter and internal reflections. Uncoated lenses tend to be less contrasty, getting milkier when the camera is pointed at a bright sky, for example. Lens coating was invented in the mid 1930's -- Gregg Toland was one of the first cinematographers to use coated lenses extensively. So I'm not sure it is historically accurate for "Saving Private Ryan" to use uncoated lenses since most WW2 photography probably would have used coated lenses, but certainly the lenses back then were still less contrasty than modern lenses. The look of older lenses is subtle and yet immediately effective in making something look like period photography.

[Tim Hole]

Interesting thanks for that David.

[Roberto Lequeux]

Can the curving of straight horizontal lines be avoided/minimized when shooting anamorphic, and how? Does it have to do with shooting up or down?

[David Mullen ASC]

Anamorphic prime lenses are like spherical lenses with a wide-angle attachment in front, only that it only works on the horizontal view. As a result, barrel distortion is quite common. No real cure for it other than to use the longer focal lengths. Or use a rear-adapted anamorphic lens like a zoom usually is, though you lose all the other anamorphic artifacts as well when the anamorphic element is in the rear rather than the front. Plus they tend to not be as sharp as front-element anamorphic primes.

I recall one DP telling me that he ended up using a rear-adapted anamorphic zoom for any shot involving rows of columns on location, to reduce the barrel distortion.

Early 5-perf 65mm Todd-AO movies used a very wide-angle spherical lens ("the bug-eye") for a pseudo Cinerama view (which had three 6-perf 35mm cameras each with a 27mm lens for a total view of 146 degrees.) I think of anamorphic barrel distortion as being part of that tradition in a weird way, it's sort of old-fashioned.

[David Mullen ASC]

Here is a more severe example of wide-angle 35mm anamorphic photography with a lot of barrel distortion:


You can see the similarities to 65mm Todd-AO photography:


To some extent, this distortion was mellowed/masked by being projected on curved screens in the past.

[marasco ivan]

hi mr. mullen i have two different question for you:

1:what is the difference between smoque filter and double fog filter?
wich one preserve more sharpnes?
wich one have much halation?
does have both the trouble that reacts to lights in the frame, so when an actor momentarily blocks that light or the camera pans off the light, the effect disappears?

2.in a digital age make still sense to use color meter?
when is helpful to use it?

thanks
ivan

[David Mullen ASC]

hi mr. mullen i have two different question for you:

1:what is the difference between smoque filter and double fog filter?
wich one preserve more sharpnes?
wich one have much halation?
does have both the trouble that reacts to lights in the frame, so when an actor momentarily blocks that light or the camera pans off the light, the effect disappears?

2.in a digital age make still sense to use color meter?
when is helpful to use it?

thanks
ivan

A Double Fog is a 1970's combination of the old Low Contrast and Fog Filters, so it's sharper than a Fog actually but hazier/milker.

A Smoque is closer to a heavy UltraCon; it's sharper overall. However, the effect does disappear and reappear as actors pass in front of lights.

All diffusion does that to some extent but because the Smoque is sharper, it's more apparent when the blooming goes on and off, whereas a softer filter like the old Double Fogs is still visibly softening the image and milking up the contrast even when someone blocks a light that is halating in frame.

However, the strength of the filter is also a factor, the lightest Double Fog is going to be more subtle than the heaviest Smoque.

---

I've never owned a color temp meter though I still think I should someday(!) but my gaffer always carries one. They are still useful, when scouting locations to figure out the color coming out of some industrial lights to know how to match them later. Or on set for the same reason, you encounter more and more lights with some degree of green in them than ever. Of course, you could put the two lights you want to match up in front of the digital camera and play with strengths of Plus Green gel and do it all by eye/monitor.

[marasco ivan]

thanks a lot david,
even if i know that you prefer smoque filter wich grade in your experience you can suggest for double fog?i'm interested to obtain a look old '70.
can you suggest me also same films where is used double fog?
thanks

[David Mullen ASC]

"The Informant!" used Double Fogs, I think a #1/4 or #1/2.

Vilmos Zsigmond used Double Fogs on his early movies such as "McCabe & Mrs. Miller". In "Close Encounters" you occasionally see the effect of Low Cons and Double Fogs.

Low Cons or Double Fogs, not sure which:









Some people still use the #1/8 Double Fog (the lightest) now & then for select shots when they want that halation.

[Gregory Lopez]

Hi David,

Can you please post images of what flashing looks like and say why cinematographers use the technique.