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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Ask David Mullen ANYTHING

Hello. I have experience with cheap, non-cinema LEDs. Hard to say directly - yes or no - it is mostly "grey area" - mean very good parametwrs of angle - like with all LEDs. As David wroted - 5600 or even declared by producers 6500K give quite good, neutral effect with color matching - little strange, because visible effect is cold, but..

Most important negative is fact, that it is never as advertised - forget about 500W from 50W, 100W from 10W - it is fairy tale - usually closer to 2-3X.

Most positive is quite interesting constant parameters of light, but... always come back with pleasure to Dedo... :)
 
David Mullen ASC said:
If anyone happens to be a Friends of the ASC member, you can see a demo I did on using Source-4 Lekos on the ASC website -- it was just posted today.
Click to expand...

Just watched it and it is great! I especially loved the "trick" of putting bounce board to the side of the door frame to light someone at the doorway.

BTW, may I ask your opinion on the pros and cons of using Source-4 Lekos vs Dedo lights? I would think the cutability of the shutters would be an advantage for the Lekos, but Dedo does make an Imaging/Projection attachment for their lights.

Thank you so much!
 
Peter Moretti said:
Just watched it and it is great! I especially loved the "trick" of putting bounce board to the side of the door frame to light someone at the doorway.

BTW, may I ask your opinion on the pros and cons of using Source-4 Lekos vs Dedo lights? I would think the cutability of the shutters would be an advantage for the Lekos, but Dedo does make an Imaging/Projection attachment for their lights.

Thank you so much!
Click to expand...


I've used the Dedos with the projector lens -- it's like having a tiny 150w Leko compared to a larger, brighter 750w Source-4 Leko, that's all. Useful for when you really need to scale down your lighting effect.
 
hi david,

first of all: thank you that you spend your time giving helpful answers to the community.
i have two basic questions: do you prefer EVF or Field Monitor? Or lets say: when do you use which? i prefer EVF because i feel to be more "in the picture". but for tracking shots..i have problems to do the with an evf.

the second: are there some sources in the internet where different light situations are explained in detail? i mean explained which light they used, where they stand etc.

best
greg
 
I don't know of a specific website where movie lighting set-ups are explained.

I don't operate much so I don't have an opinion about EVF versus onboard flat screens, sort of depends on the shot. I'd probably find the onboards more comfortable other than for handheld shots.
 
Hello David,

I am planning on applying a Kodak 2383 emulsion 3D LUT as a on set exposure tool for an upcoming feature project shooting with Arri Alexa XT via black magic HDLink pro.
The Alexa Xt can load up 3D LUT files but only with XML files which I am still trying to find a best way to covert the cube to XML. the worst is the have the HDlink pro attached to my camera at all time if the conversion isn't successful. I am hoping to judge my exposure and color as a preview option, not baked in the look with Kodak 2383 emulsion LUT files, and carry it to post production to have a precise look as I planned. my question is, when I apply the look onto my monitor which is Red. 709, but with my DI (film light) for digital cinema package(DCI-P3), the gamma and color space of the platform is different than 709. I know this will make my dailies look different than on set, if so, do you have any suggestions? there are posts on reduser with film emulsion LUT files, but Epic is using metadata, Arri is using XML, but general HD video camera use Cube files. I wonder if any file conversion is available or if there will be any loss in the convert process. thanks very much for your time and help.
 
Last edited:
David Mullen ASC said:
I've used the Dedos with the projector lens -- it's like having a tiny 150w Leko compared to a larger, brighter 750w Source-4 Leko, that's all. Useful for when you really need to scale down your lighting effect.
Click to expand...

Thank you so very much David!
 
scott mei said:
Hello David,

I am planning on applying a Kodak 2383 emulsion 3D LUT as a on set exposure tool for an upcoming feature project shooting with Arri Alexa XT via black magic HDLink pro.
The Alexa Xt can load up 3D LUT files but only with XML files which I am still trying to find a best way to covert the cube to XML. the worst is the have the HDlink pro attached to my camera at all time if the conversion isn't successful. I am hoping to judge my exposure and color as a preview option, not baked in the look with Kodak 2383 emulsion LUT files, and carry it to post production to have a precise look as I planned. my question is, when I apply the look onto my monitor which is Red. 709, but with my DI (film light) for digital cinema package(DCI-P3), the gamma and color space of the platform is different than 709. I know this will make my dailies look different than on set, if so, do you have any suggestions? there are posts on reduser with film emulsion LUT files, but Epic is using metadata, Arri is using XML, but general HD video camera use Cube files. I wonder if any file conversion is available or if there will be any loss in the convert process. thanks very much for your time and help.
Click to expand...

Sounds like you need a DIT helping you set this up. It's just my own personal philosophy, but I don't find on-set monitoring and even dailies to be a world where perfect display accuracy is possible, all you will ever see is an approximation of the final look. Even if you and everyone in post had P3 monitors, it doesn't mean they'll be viewed in a perfect environment either. So I would work backwards, starting with the final P3 cinema display look and create a Rec.709 version for the camera that is acceptably close, and by create I mean you may have to eyeball this though if you shoot some charts, it's certainly possible to match things easier by looking at waveforms and other scopes.
 
David can you talk about the best ways to get the softest wrap around light on close ups. which is the best way to get that look on small tight locations and or verse large locations. For large locations how to get the none fill look and control the light while keeping it soft and natural looking. David and thanks for being so willing to share and be such a wonderful teacher.
 
For Day Interior & Night Interiors David. What type of lighting fixtures and Diffusion combinations do you like the best, and how close or far away from the subject do you get the softest light? How do you vary the different qualities of soft light can you get
 
I don't have the same methods, it depends on the space and the practical source I am emulating, sometimes a super-soft key light doesn't make sense if the source is naturally harsher or harder. And whether I go with a bounce versus a light through diffusion is mainly a space issue, if I want the soft light to come from where a wall is, then probably I'll drape a bedsheet or large piece of muslin and bounce into that -- the light hitting the bounce may be farther back to get the spread, like a Source-4 Leko, maybe up high so that the actor can cross under the beam, but if I have to put the light closer to the wall bounce, I may use two tweenies or something smaller to get the spread on the sheet. But other times, a Kino may be an easier way to light. In rooms with more space, I prefer using a 6x6 or 8x8 diffusion, maybe a lt. grid cloth, and sometimes I put a light with a Chimera bag on it as the source behind the diffusion. I sometimes just hang the diffusion like a curtain from a piece of pipe held up with the stand in the middle, what we call a "t-bone" rig.

As for cutting a soft light to reduce spill, again, that's a space issue -- it's certainly easier to cut a light through a diffusion frame than it is to cut a bounce, though either can be cut, you just need the room for the large flags. I've sometimes used large Chimeras with soft egg crates in front.

The softness of a light is just dependent on the size of the source (the bounce surface or diffusion frame, not the light hitting them) relative to the subject. Closer and smaller versus larger and farther can create the same degree of softness, the only difference then becomes fall-off -- when an actor is very close to a soft light, their brightness can change dramatically as they move nearer or farther from the source. Sometimes that's a good thing, like when you want a fast-enough fall-off so that the background doesn't get much exposure.
 
Thank you so much for this wonderful answer David. I am a friend of the Asc and enjoyed your Tech Tip video as well
 
David Mullen ASC said:
If anyone happens to be a Friends of the ASC member, you can see a demo I did on using Source-4 Lekos on the ASC website -- it was just posted today.
Click to expand...

Is there a link? I'd be glad to watch it! What does it mean to be a friends of the ASC member, where? (sorry if it's silly, I just don't know)
Thanks a lot
 
David how difficult is it to get a break with an Asc Cinematographer as a Camera Operator, If you have a decent reel? Or have a good background with most camera systems along with being real good operating with the Panahead and gearheads Stedicam and Jib. and to earn your way into the cameraman's local. Many of my friends are now working in Atlanta GA. and moving there.
 
The ASC isn't the union, it isn't a guild -- it's an honorary society, membership by invitation.

The operator is a very important position since they are actually closely working with actors, so I mainly look for experience as A operator on dramatic productions. There are other considerations when I need a Steadicam operator or someone with remote head experience or something even more specialized.
 
My apology Mr Mullen. I was not asking to get a chance to become your operator. That for me would be like being told Pauli you are going to land on the moon or being invited to become a member of one of the greatest societies on planet the Asc or hey Pauli you've been nominated for best cinematography and then win LoL. I mean i am a complete no one like Stallone said before he made Rocky an absolute nobody. LoL I was just wondering if it was even possible for a guy with heart and passion along with dedication and skill to even have a shot to make it as even a B,C or even D camera operator to work with and Asc Dop. Just a crazy dream Mr Mullen. I have greatest respect and admiration for you. You make remarkable looking motion pictures. It is for me the greatest honor for you to answer my questions
 
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