Ask David Mullen ANYTHING

[David Mullen ASC]

Are you talking about shooting digitally? If so, I wouldn't shoot at 3200K on your camera and then try to color-correct it back to neutral just for a cooler cast - unless you are shooting raw with a camera that doesn't bake-in color temperature, in which case it doesn't really matter anyway what you set. But if you are shooting in an RGB format like ProRes, etc. then don't record a very blue image and then try to make it neutral again. This isn't like shooting on color negative film where there is color information in all three layers, just imbalanced by shooting on tungsten stock in daylight with no correction. If you are recording RGB, it's more like what you see is what you get -- if the image is very blue, then it's missing a lot of red. And it's even worse if it's a display gamma recording rather than log.

If you want a colder look, then shoot in daylight at a color temperature setting lower than 5600K, like 4300K or 4700K. That should give you a colder cast.

With digital color-correction, it is easier to do things like reduce saturation in the red channel, or shift your shadows and blacks towards the blue relative to the highlights, etc. There is no reason to record radically incorrect color casts. This isn't like printing a film negative where you are trying to trick the print stock to behave in a certain way because you have no digital color-correction tools.

 

[Raphael Madeira]

Thanks for the info David!

To be more precise I was going to shoot on a Panasonic Eva1 in Prores Raw V-log and wanted to see if shooting in 3200K and color correcting on camera, by using perhaps a Tiffen 85 filter, rather than just changing in post if it would yield interesting results?

I was also trying to replicate the Walking Dead TV series (that is shot mostly in Kodak Vision3 500T 7219) with my digital camera, to try and see what I would get filming in similar conditions.

Essentially I know much is possible in post-production nowadays but wanted to see if there would be any gain in doing these things on camera.

So if I understand correctly, you do not advise shooting on digital at 3200K in daylight exteriors while correcting it with a filter like the 85 or 85B because there is nothing to gain? That it is preferable to use post color correction instead?

 

[Andrew Rieger]

Hey David ... I recently shot a short film using nets mounted behind the lens. I was wondering if you had any advice for the issiue of the net pattern becomng visible in the bokeh. I was using a very fine net material, this black tulle that is used for veils. We couldn't really tell on set but the X-pattern of the tulle becomes visible in the out of focus background. However, it didn't always occur and it was somewhat inconsistent. It seemed to happen only on a few shots where B Cam was on a zoom lens (70-200). However, we didnt test to see at what focal length this started happening at.

Is this particular problem avoidable if you stay under a certain focal length? Or does it depend on the focus distance and can happen on any lens, both wides and normal focal lengths? I loved the highlight bloom, edge detail and contrast reduction but the director really hates the x pattern. I'd love to use the nets again but I'm trying to figure out when it is safe, knowing that some are really going to be distracted by the pattern in the bokeh.

 

[Pablo R. Basulto]

HELP DAVID, DO YOU KNOW WHY COLOR TEST CHART STAYS PERMANETLY IN THE EVF, I CANT FIND THE WAY TO LEVE THE TEST MODE


Thanks

Pablo Basulto

 

[David Mullen ASC]

Digital sensors are naturally biased towards daylight balance — you force them to be tungsten balance by pushing the blue channel harder to compensate for it being underexposed relative to the red and green channels, so the only thing that results in setting your camera to 3200K and using the 85 filter in daytime is a neutral image with noisier blues (how noisy depends on your ISO setting.)

 

[David Mullen ASC]

Hey David ... I recently shot a short film using nets mounted behind the lens. I was wondering if you had any advice for the issiue of the net pattern becomng visible in the bokeh. I was using a very fine net material, this black tulle that is used for veils. We couldn't really tell on set but the X-pattern of the tulle becomes visible in the out of focus background. However, it didn't always occur and it was somewhat inconsistent. It seemed to happen only on a few shots where B Cam was on a zoom lens (70-200). However, we didnt test to see at what focal length this started happening at.

Is this particular problem avoidable if you stay under a certain focal length? Or does it depend on the focus distance and can happen on any lens, both wides and normal focal lengths? I loved the highlight bloom, edge detail and contrast reduction but the director really hates the x pattern. I'd love to use the nets again but I'm trying to figure out when it is safe, knowing that some are really going to be distracted by the pattern in the bokeh.

Can’t really avoid it. The longer the lens and the larger the out of focus lights get, the more clearly you can see the pattern. Most diffusion creates some pattern, I just find that with ProMists, it’s a very subtle pattern that is hard to see so that’s what I use when I have a problem with other diffusion on longer lenses at wide apertures.

 

[Raphael Madeira]

Digital sensors are naturally biased towards daylight balance — you force them to be tungsten balance by pushing the blue channel harder to compensate for it being underexposed relative to the red and green channels, so the only thing that results in setting your camera to 3200K and using the 85 filter in daytime is a neutral image with noisier blues (how noisy depends on your ISO setting.)

Thank you for the information David.

Didn't know that about digital sensors, it's good info to know.

Once again thanks for answering my questions.

Cheers

 

[joshua csehak]

Hi David, you posted a couple images on Instagram not too long ago that really surprised me – desert shots lit by the full moon exposed fully so they look like noon sunlight, and then you darkened them in post to look like night, and they looked fantastic. I just shot a test on a cloudless day and spent a good half hour in redcine-x trying to get it to look like a good day-for-night and just couldn’t get it right. It seems from your example that just about any shot should be possible to day-for-night color grade, right? Did you do anything fancier than curves and color shift? Or am I missing something, and there are certain elements that make day-for-night impossible?

 

[Matthew J Wilson]

Hi David

I know cinematographers aren't suppose to have their own kit, but I'm thinking of upgrading my lighting kit so I can do more tests and personal projects on the cheap without hiring too much. This would mainly be for interior work on one or two subjects at a time. I've been following and admiring the work of 'Olan Collardy' recently and I've noticed he's got a few DIY tricks up his sleeve. What would you suggest for a basic lighting package?

I'm thinking of getting:
- 2k Fresnel (Arri T2) and converting it to LED (Visionsmith Relamp) as my main Key
- Litemat 2 as a fill or for overheads
- Hive 100c/200c LED to put in a soft box or a pancake and for the general flexibility of RGB
- Bleached Muslin 4x4 or 6x6? Bounce and heavy diff
- Shower curtains
- Bed Sheets
- Poly boards
- Black Drape, probably 8x8

I'm use to working with tungsten fresnels but the heat and power is a no go. I'm not a fan of HMI's plus they're too expensive. Ideally the kit would be full RGB LED, accessible from a smart phone, but due to the price of it I might as well rent that kind of kit right?

Any suggestions would be hugely appreciated, I don't mind if the kit is compromised of DIY materials, got around £4000 to play with.

Thanks

 

[Jeffery Anderson]

New Beverly Cinema is projecting the Love Witch in 35mm on the 25th

http://thenewbev.com/program/may-25-the-love-witch-midnight-show/

Anna Biller’s spectacularly stylized and spellbinding cinematic fantasy pays tribute to the Technicolor thrillers of the ‘60s, ...Samantha Robinson is completely mesmerizing in the lead role; she plays Abigail Folger in Tarantino’s upcoming Once Upon A Time In Hollywood.

Biller spent years crafting a monumental work of art – writing, directing, editing, scoring, and creating the incredible costumes, wardrobe, paintings and props. It’s strikingly detailed and visually stunning, vividly recalling a filmic time and place while simultaneously creating something wholly unique.

The Love Witch was shot and edited on film and is an absolute must-see projected in 35mm!

 

[David Mullen ASC]

The

Hi David, you posted a couple images on Instagram not too long ago that really surprised me – desert shots lit by the full moon exposed fully so they look like noon sunlight, and then you darkened them in post to look like night, and they looked fantastic. I just shot a test on a cloudless day and spent a good half hour in redcine-x trying to get it to look like a good day-for-night and just couldn’t get it right. It seems from your example that just about any shot should be possible to day-for-night color grade, right? Did you do anything fancier than curves and color shift? Or am I missing something, and there are certain elements that make day-for-night impossible?

You’d have to post an example of your attempt. Usually the main problem is the sky if it’s too hot. DFN often involves using ND grads and/or Polas to help with that.

 

[David Mullen ASC]

That kit should be fine for small lighting set-ups. If you can afford a Litemat 4, it’s a fast way to get a soft key light. A 4x4 diffusion frame would be useful (216 works most of the time.)

Some grip equipment is useful — c-stand, sandbag, some black flags...

 

[Shawn Nelson]

What is your favorite focal length for closeups?

 

[David Mullen ASC]

What is your favorite focal length for closeups?

Depends on the project, depends on the scene, depends on the face...

I like being close on a medium lens like a 35mm, 40mm, 50mm depending on how tight. Even a 50mm can be a bit distorting if you get really tight but generally it is flattering enough. But back out enough and even a 50mm can seem a bit long, more telephoto in feeling.

I did this close-up on a 50mm Master Prime wide-open for a shot in "Westworld":

 

[Matthew J Wilson]

Depends on the project, depends on the scene, depends on the face...

I like being close on a medium lens like a 35mm, 40mm, 50mm depending on how tight. Even a 50mm can be a bit distorting if you get really tight but generally it is flattering enough. But back out enough and even a 50mm can seem a bit long, more telephoto in feeling.

I did this close-up on a 50mm Master Prime wide-open for a shot in "Westworld":

David, did you net the lens for this? Or use and lens diffusion?

 

[Marc Wielage]

So glad to hear that the great David Mullen ASC won tonight for his work on THE AMAZING MRS. MAISEL. As far as I'm concerned, he was cheated several years ago for not winning for SMASH, which was an amazing-looking show (albeit not seen by a big audience). I'm really glad his talent is being recognized. His lighting and camerawork are so integral to the show, they're practically co-stars to the actors.

Creative Arts Emmy Awards Full Winners List: ‘Game Of Thrones’, ‘Chernobyl’, ‘Mrs. Maisel’ Among Top Honorees

https://deadline.com/2019/09/creative-arts-emmy-awards-2019-winners-list-1202734630/

 

[Jacques Mersereau]

A HUGE CONGRATULATIONS for Mr. Mullen on his EMMY WIN!

Outstanding Cinematography for a Single-Camera Series (One Hour)
The Marvelous Mrs. Maisel, “Simone”
Amazon Prime, Amazon Studios
M. David Mullen, ASC, Director of Photography


I have to say you really and truly deserve this award David.
Every scene just looks amazing and is SO appropriate.
Your lighting tells the story without ever getting in the way.

KUDOS!

 

[Aaron Green]

Congrats!

 

[Mike Kozlenko]

Congrats Dave awesome work!

 

[David Mullen ASC]

Thanks!