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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

They're all HMI strengths, so I would presume that's what he means. Arri tungsten (fresnel) units come in 150w, 300w, 650w, 1k (and above, of course) - the only units I've ever seen in 575w and 1.2k are HMIs...

To Supanova, that looks fairly sensible, but you are missing anything with lots of punch, although I'm guessing from the dollar values you are in the US, where units like 2.5k's are more problematic due to the low wall power output - here in the UK, I'd be loath to go without at least one 2.5k unit if you're shooting day ints, but if you want to run off mains and are in the US, it's probably a moot point.

Just a thought...
 
he said meter readings on the 1.2 par measured 1/3 stop under a standard 2.5 so it was better to go the pars because you could wack the two together if you needed (like through a window) or use separately (considering my low budget) The 1.2 's are also small. They are more expensive than the 2.5 's he is selling. Also the power equation.
 
Shawn Nelson said:
He couldnt have understood what I meant, because 'condition of the box', 'electrician', 'tieing in' and 'security' have NOTHING to do with the method I am doing, simply taking a known good 30amp socket and using it within bounds.
Click to expand...

Sorry for being cryptic, but yes I understood. We used to do this but only if our electrician felt good about the wiring. We have had some problems and it is not fun to have to call the fire department, so we have made a policy of staying with generators or smaller lights. Plug in or tie in, you will always be at the mercy of the physical conditions of the building.
 
Robert Sanders said:
Hey Mr. Mullen - I was wondering what your thoughts are on the new G-Series anamorphic lenses from Panavision?
Click to expand...

They sound great but I wonder about their availability. I like the quality of Primo Anamorphics but they are ridiculously huge, so a new series that manages to keep the size down is great.
 
David Mullen ASC said:
They sound great but I wonder about their availability. I like the quality of Primo Anamorphics but they are ridiculously huge, so a new series that manages to keep the size down is great.
Click to expand...

Considering the anamorphic element is in the front of the lens, will they flare and vignette like the older C's and E's (and I mean in a good way)?

And their wide angle anamorphic zoom looks killer.
 
David,
Is there anyway to get the anamorphic horizontal blue flares without using anamorphic lenses? One DP I talked to thought he'd heard of a glass filter for such things.
 
Red one lens question

Red one lens question

Hi David. I had a quick question about using 35mm prime lenses on the Red One. I did a quick search of the forum and have read a lot of conflicting messages and wanted to get your take on things. Given that the Red One is a super 35mm size sensor, I would assume that you would be able to only use Super 35mm primes on it but have read that some people were able to use 35mm primes with standard 35mm coverage on the red one without "portholing" (ie, they were able to get enough coverage over the image sensor area). Others reported they got portholing. I'm asking because I'm prepping for a low budget feature and we may be borrowing some prime lenses but I think they are standard 35mm primes and I won't be able to test the lenses before production starts rolling. I'd appreciate any insights you could give. Thanks!

Best,
Eric Lin
NYC
DP
 
Eric Lin said:
Hi David. I had a quick question about using 35mm prime lenses on the Red One. I did a quick search of the forum and have read a lot of conflicting messages and wanted to get your take on things. Given that the Red One is a super 35mm size sensor, I would assume that you would be able to only use Super 35mm primes on it but have read that some people were able to use 35mm primes with standard 35mm coverage on the red one without "portholing" (ie, they were able to get enough coverage over the image sensor area). Others reported they got portholing. I'm asking because I'm prepping for a low budget feature and we may be borrowing some prime lenses but I think they are standard 35mm primes and I won't be able to test the lenses before production starts rolling. I'd appreciate any insights you could give. Thanks!

Best,
Eric Lin
NYC
DP
Click to expand...

What make and model are the lenses? That's the important thing to know in determining whether they will cover the full super35mm frame.
 
The recorded 4096 pixel wide area off of the RED sensor is standard 35mm in width (22mm wide instead of 24mm, which is the width of the full 4.5K RED sensor and is the width of Super-35).

But the majority of 35mm optics cover Super-35 anyway. However, some lenses do show more light fall-off around the edges, and the problem is more obvious when you shoot Super-35 instead of regular 35mm.
 
The two lenses are Standard 40mm Zeiss lens and a Canon 300mm modified with a Century Optics PL Mount. I spoke to some rental houses who say they send out the Red one with standard Zeiss lenses (not even Superspeeds!) and haven't heard any of the older Zeiss lenses portholing. I guess I was thinking that Super 35mm frame was offset like on a film camera (where the added negative area takes up the soundtrack area) but the Red one centers the sensor so theoretically most 35mm lenses cover the area. Am I getting that right?
 
We have a camera with the zeiss standards, we tested the 14,16,24,32,50,85,100macro no problems whatsoever. Moreover they look nicer than the master primes, they give the image a texture I dont know.. a look.. Its awesome. The other lenses in my opinion give you a sharper video look. But the areas covered by the lenses are perfect. You will have no problem.
 
Eric Lin said:
The two lenses are Standard 40mm Zeiss lens and a Canon 300mm modified with a Century Optics PL Mount. I spoke to some rental houses who say they send out the Red one with standard Zeiss lenses (not even Superspeeds!) and haven't heard any of the older Zeiss lenses portholing. I guess I was thinking that Super 35mm frame was offset like on a film camera (where the added negative area takes up the soundtrack area) but the Red one centers the sensor so theoretically most 35mm lenses cover the area. Am I getting that right?
Click to expand...

Technically Super-35 is centered for the film frame -- it's standard 35mm that is offset to the right to allow room to add an optical soundtrack stripe on the left side when contact printing. But since contact printing is not relevant to a digital camera, of course the sensor is centered with the lens.
 
David,

In another thread you mentioned something huge, and which should be explored more fully:

"Hopefully you edited your framing chart into the master or delivered it separately, but anyway, during the D.I. color-correction session you can choose to either look at the whole frame, 2:1, or letterbox it to 2.39."

This sounds like some high end software with vectored windows, etc. What do you mean by editing a "framing chart" into a "master?"

Which software does this and how does it work?

The only way I know how to "edit" framing into anything is destructively. I take it you mean a non-destructive file that accompanies the clip?
 
I just meant that usually you shoot with your camera a physical chart with the framelines drawn/printed on it that match your viewfinder framelines.

The editor uses that piece of footage as a reference to mask off his monitors or check from framing problems if necessary -- and should put a few frames of that footage, that frameline chart, at the head of reels to be filmed-out.

The framing chart allows you to see if there are problems later concerning framing, since it serves as a reference point.
 
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