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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

David Mullen ASC said:
The ICG article says the movie was shot clean on Cooke S4's and the diffusion was added in post, something Delbonnel has been doing for some time (look at the Harry Potter film he did, or "Dark Shadows.")

I think it looked gorgeous.

As for the depth of field, it looked normal to me, just the use of shorter focal lengths and more medium shots rather than close-ups allowing the space to be seen. I doubt it was shot any deeper than f/2.8-4 indoors.
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Thanks David. Concise and brilliant as always. Gotta read ICG!!
 
Hey David, long time lurker first time writing.

I have a question for you when it comes to shooting vivid and unusual coloured costumes. I have been asked to do a number of cosplay video shoots with my Red, and a lot of this involves characters with bright hair, etc, and I'm not sure if there's any specifics I should be looking out for on these shoots. I hope that was clearly asked

Nimish.
 
This has probably been asked before but do you prefer to operate your own camera? When you arent operating your own camera or you have multiple camera operators do you feel like you don't have as much creative control or do you work harder to better integrate with every camera op, gaffers, 1st AC's, etc. Im sort of asking from a perspective of someome who doesnt often shoot in collaboration as often as id like to know the answers from experience instead of reading or even guessing.
 
Nathaniel Opgenorth said:
This has probably been asked before but do you prefer to operate your own camera? When you arent operating your own camera or you have multiple camera operators do you feel like you don't have as much creative control or do you work harder to better integrate with every camera op, gaffers, 1st AC's, etc. Im sort of asking from a perspective of someome who doesnt often shoot in collaboration as often as id like to know the answers from experience instead of reading or even guessing.
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I'd prefer to have a talented operator and thus be able to sit with the director at the monitors, which is important in HD to see the image on a larger screen, plus if we are shooting with two or more cameras, which is not uncommon these days, I can see what everyone is shooting. I suppose there would be a case on a small film with no monitors, no video village, no second camera, in small spaces and a small crew, where I might prefer the intimacy of just the director and me at the camera together (plus the focus puller and boom operator, etc.) -- I've heard that Michael Winterbottom's shoots are like that, there are as few people as possible in the set. Also, to be honest, my strengths as an operator are in framing rather than movement, I'm not as graceful nor athletic as some of the good operators I've worked with. But really, I'd rather be sitting with the director and being engaged more with him or her, if the director is going to be at the monitors.
 
Nimish Thapar said:
Hey David, long time lurker first time writing.

I have a question for you when it comes to shooting vivid and unusual coloured costumes. I have been asked to do a number of cosplay video shoots with my Red, and a lot of this involves characters with bright hair, etc, and I'm not sure if there's any specifics I should be looking out for on these shoots. I hope that was clearly asked

Nimish.
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Testing is a good idea, to see how if all the colors are being reproduced accurately. The only rule with lighting is that frontal light brings out the color, whereas back, edge, and side light bring out texture, though there is no rule that the colors must always be dominant, sometimes you want to mute them a bit if they are too aggressive in front light.

You'll also find that blues will look cleaner if the camera is shooting in daylight balanced lighting rather than tungsten balanced lighting.
 
Many thanks for the quick response David. Testing days now added to my schedule as per your suggestion.
 
The Crank series was shot at 1/1000 or 1/2000th. F950 on the first one I think and Canon XHA1s for the second (And HF100s).

Thanks David; I just noticed your response on the last page about Big Sur's diffused blacks look.
 
Mike P. said:
The Crank series was shot at 1/1000 or 1/2000th. F950 on the first one I think and Canon XHA1s for the second (And HF100s).

Thanks David; I just noticed your response on the last page about Big Sur's diffused blacks look.
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Do you have a link for that? 1/1000th is pretty extreme but I guess thats fitting for the movie...I did get the feel of a small shutter angle the whole time though and when I would pause often there would be minimal motion blur.
 
Kim Frank said:
I'd reccomend a octa light. Its a huge round Reflector that puts out soft but yet directional light. Even without a diffusion cloth it renders pleasingly soft shadows. I only know a tungsten 800 unit but I think I got an F4 at 800 ASA so it has a good output. That's a source that is ideal for one light setups, where you only use a reflector to fill the shadows. I like to take just a tiny bit of silver on a flag in front of the talent for a portrait. What also ist nice to flag of the key of the octagon a bit which renders a nice oval shaped face but because of the movements of the talent it's something that work better for stills and has to be operated by an assistent and always move accordingly.
Take a look at the photography of Marco Grob. Most of his work is done with a Octa (in his case flash but the reflector is the same) and a simple silver bounce. Take a look at the reflections in the eyes and you will know what I mean.
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Soft umbrellas are a real problem because they move with the slightest air movement - so outdoors just a no-go. Octa light can handle heat of constant sources safely? Have you actually tried this? If so I will pick one up for indoor use. That small little pouch where the flash goes looks like heat would become an issue sooner than later.
 
Happy New Year David!

Thanks for all of your effort answering questions on this thread.
 
Best Wishes for an awesome 2014!!

Best Wishes for an awesome 2014!!

Hi David,

Wishing you all the best in 2014 and thank you for all your wisdom and kindness for taking the time to share your thoughts and knowledge to all of us.
It is always inspirational, thought provoking and very helpful to read your posts.
I always look forward to your insight and opinions.
 
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Hey David, I feel like vintage glass is making a comeback...any idea why?

All Is Lost shot on Standard Primes

Her on Super Speeds, uncoated Panchros and a K35 zoom

American Hustle on Standard Primes and K35s

Are people just digging the texture of older glass on digital? A lot of commercials seem to be embracing this look too.


Thanks again for sharing your wisdom! Here's to you having a much deserved, a very successful 2014!!!
 
Yes, it's just a reaction against the very clean, crisp look of digital cameras, though in the case of "American Hustle", which was shot in 2-perf 35mm, it was more to match the period when the film takes place. I think as images get technically better, there is always a certain amount of rebellion against that, for every action there is a counteraction of some sort, like wanting to shoot in 4x3 Academy when more and more people are shooting in 2.40.

Of course, when everyone is doing it -- using uncoated old glass, color-correcting images to look like log gamma, etc. -- you know that the trend must be near its peak.
 
David Mullen ASC said:
Of course, when everyone is doing it -- using uncoated old glass, color-correcting images to look like log gamma, etc. -- you know that the trend must be near its peak.
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Haha. I think you are probably totally right. And with Dragon starting to make that "clean" look actually look "good", I wonder if the tide is staring to turn...towards clean again...I gues we'll find out in 2014!

Happy New Year, David. And thanks again.
 
Nick Morrison said:
Haha. I think you are probably totally right. And with Dragon starting to make that "clean" look actually look "good", I wonder if the tide is staring to turn...towards clean again...I gues we'll find out in 2014!

Happy New Year, David. And thanks again.
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Eh its not gonna change drastically. Want clinical clean? Zeiss Master Primes + RED Epic Dragon / Sony F65 / Arri Alexa / favorite decemt digital camera with very low gain settings. Seriously ive seen enough of it, I love the Zeiss MP's but they are too clean and I dont think everything fits that clean look...American Hustle on Master Primes with an F35 would have looked horrendous just as an example...I like all kinds of looks but ultra clean isnt some mew thing with Dragon or even any type of lens. For example 2001 was shot on 65mm, I think of Kubrick were still around amd maxe thst movie today he'd shoot on the cleanest set up possible.
 
Hi David,
What technique Bruno Aveillan is using to blur the images? I guess it's vaseline or a weird piece of glass in front of the lens. I tried both but it's still different.
Here is a reference:
Thanks,
Alex
 
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