Recent content by Matt Mulcahey

What are my options for getting the changes I make to a clip's Raw settings in DaVinci Resolve over to the editor? I typically make editorial proxies so when I tweak Raw settings in the color tab, those adjustments are usually burned into those proxies. But on this show the editor is using the...

Wanted to share this interview I did with Erik Messerschmidt for Filmmaker Magazine. He gets into how he gauges exposure, how he gets those meticulously geometric David Fincher frames, and tips for shooting driving footage on a soundstage.

Color is shifting red whenever we go from 5K HD 23.97 to 4K HD 96 fps. Shooting on Red Weapon 6K (so Dragon sensor). Do I just need to black shade calibrate?

Wanted to share this interview I did with Guardians Vol. 2 DP Henry Braham for Filmmaker Magazine. Here's the link if anyone wants to check it out...

I need to accomplish what I thought would be a relatively easy task - create a look in RedCine-X that will drag down the blacks a bit for on-set monitoring. But I can't seem to figure out how to accomplish it. The show is going to shoot Epic Dragon and the DP has asked me to create looks in...

I've seen quite a few threads on here regarding adding in-camera LUTs on Epic Dragons, but I wanted to check in with a new thread just to make sure I had the most up-to-date info. My understanding is that - without a Redcast Module - I can't add 3D LUTs (or 1D LUTs for that matter) from...

I interviewed Gone Girl cinematographer Jeff Cronenweth for my blog if anyone's interested in checking it out here. He breaks down his thought process behind a half-dozen shots from the film, discusses Dragon vs. Epic and talks about growing up on sets including Butch Cassidy and the Sundance Kid.

Put up a few new interviews on my blog with cinematographers of Red-shot features. Here's the links if anyone wants to check them out. Obvious Child (Scarlet) Starry Eyes (Epic and Scarlet) Bad Turn Worse (Epic)

I've put a few new DP interviews up on my blog if anyone's interested. The One I Love (Epic) and the doc Rich Hill (Scarlet) were both shot on Red. I've also got chats with the cinematographers of Cheap Thrills (Alexa), The Sacrament (C300) and Young Ones (anamorphic 35mm).

I'm on a shoot and I'm having trouble figuring out how to send just the clip name/number to the client monitor for the script supervisor. Thus far I've only been able to send the entire batch of data that appears on the LCD. Can anyone point me in the right direction as far as creating a...

Put up a few new cinematographer interviews on my blog. Below are the links. I tossed Big Bad Wolves on here as well, even though it's Alexa. Short Term 12 Big Ass Spider! Big Bad Wolves

Put up an interview with the cinematographer of the Sundance winner In a World on my blog if anyone is interested in checking it out. Shot on Epic with Hawk C-series anamorphic lenses. Here's the link...

I've posted an interview with Andrew Salermo, DP of the horror film You're Next, on my blog Deep Fried Movies. The flick was shot on a Red One MX with Arri Zeiss Ulra Primes. It's not quite American Cinematographer level of technical detail, but I think it's specific enough to be of interest to...