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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

Again about greenscreen...
How do you like to light it? Did you ever use a huge silk light from above how I seem to see it in many making ofs? I would think this with a bit of fill or cutting the light here and there would result the most natural look and evenly light screen?
 
Jamie Havill said:
Hi David,

Long story short, I'm helping out a friend at the last minute and shooting his final year high school project for him tommorow morning. It's 11PM now, and it's absolute no budget, but he's managed to score some tungsten fixtures. I don't have any of my equipment or gels with me (I'm visiting my parents at home), and we need some CTB for the tungstens, and also a polarizer.

There's NOWHERE around to buy it here, and I can't go and get my gear (it's too far a journey), is there anything I can ghetto together to use as CTB? Litrally anything that will cool the light? I know it's unlikely, but much appreciated anyway!
Click to expand...

Jamie:

Go to an office supply store. They have transparent plastic report covers and the blue ones are usually like a strong CTB.
 
Michael Hastings said:
Jamie:

Go to an office supply store. They have transparent plastic report covers and the blue ones are usually like a strong CTB.
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Nice suggestion, though they might melt.

Failing that you could try bouncing the tungstens off something blue - but you'd lose a ton of light level unfortunately.
 
Yes, bouncing them off of blue would work. Non-film gels could work if far enough away from the light not to melt. The color may be off though, have some green in it.

Don't expect full daylight correction though, that takes two stops of output when using real gels, so it would be a waste of power to attempt it with homemade methods -- you should just be aiming to cool them off a little. You're perhaps better off finding some daylight compact flos with a decent CRI rating.
 
Panavision Lens Question

Panavision Lens Question

David,

In your experience, what's the optical advantage of using the panavision lens's, vs say ARRI Zeiss Master Primes T1.3.

I own a Set of Arriflex Ziess Standards T2.1 (16,24,28,40,85,100)
A director asked me to get a quote for using Panavision Lens's on a feature shoot scheduled for July.
If they want a higher quailty Glass I would rather sway them into getting a ARRI Master Prime Set, but I would also like to oportunity to shoot using the panavision lens', I just don't understand the advantage.

I have never used Panavision and since I do not have a panavision mount I would need to Rent a RED camera from Panavision, also they require a camera rental in order to rent lens's.

Thanks for any advise you can give me.
 
If you remove the locating pin from some PL mounts then the pin of the PV lens can fit in and you're away.
 
eric a wahl said:
David,

In your experience, what's the optical advantage of using the panavision lens's, vs say ARRI Zeiss Master Primes T1.3.

I own a Set of Arriflex Ziess Standards T2.1 (16,24,28,40,85,100)
A director asked me to get a quote for using Panavision Lens's on a feature shoot scheduled for July.
If they want a higher quailty Glass I would rather sway them into getting a ARRI Master Prime Set, but I would also like to oportunity to shoot using the panavision lens', I just don't understand the advantage.

I have never used Panavision and since I do not have a panavision mount I would need to Rent a RED camera from Panavision, also they require a camera rental in order to rent lens's.

Thanks for any advise you can give me.
Click to expand...

If you've already got PL-mount Reds then it doesn't make sense to go to Panavision when you can use Cooke-S4's or Zeiss Ultra & Master Primes. Primos are nice of course but they are similar to the other choices. And if you can afford Master Primes, they are faster than Primos and a touch sharper.
 
David,

Thanks, that's the advice I needed.

David Mullen ASC said:
If you've already got PL-mount Reds then it doesn't make sense to go to Panavision when you can use Cooke-S4's or Zeiss Ultra & Master Primes. Primos are nice of course but they are similar to the other choices. And if you can afford Master Primes, they are faster than Primos and a touch sharper.
Click to expand...
 
David, are you excited about the Leica T1.4's? Being able to use any RED with them should save a bit of money, and if their rental sets at about MPs they will certainly be an interesting option if you are looking for the Panavision look. Any thoughts on them before we get to see them at NAB?

And how would you characterize the "Panavision optics look"?
 
With all the monkeying around that happens to the image in post, especially to the contrast, I don't get too hung up on the subtle differences between the top lenses on the market -- they exist of course, and some people prefer one over the other, but I think some of those differences can be timed out in post. Besides, most people have to mix some zoom lens stuff in there anyway.

However, I do like the idea that now there are T/1.4 options. I hope Panavision follows the trend and makes some T/1.4 Primos.

Though not necessarily "sexy" what I like about Primos / Leitz is their neutrality, they seem less warm than Cookes and less cold than Zeiss. Same goes for contrast, the Primos are somewhere in between the lower contrast of Cookes and the higher contrast of Zeiss.
 
What about OOF fall off? I keep hearing that Cookes have a more gradual transition from in focus to OOF. Would you say there are differences in that respect with MPs? While I understand the concept, I have never seen a side by side to compare and clearly spot it.

An other reasons I found offered for why Cookes might be so pleasing refers to a very gradual sharpness falloff towards the corners. This I have clearly noticed before when compared to Standard Speeds about a year ago here on RedUser. I wonder if you feel Panavision/Leica lenses have this same quality only much less pronounced.
 
Well, softer contrast lenses naturally tend to have less "snap" and therefore focus seems to roll through more smoothly. But what seems smoother and more pleasant to one person seems soft to another person.

Also, I like using mild diffusion filters and therefore prefer sticking them on higher contrast lenses, mainly because I want the halation more than I just want more softness.
 
hello
First time on the server
I'm usinf Monkey Extract to render DPX out of a FCP XML
how do I tell the soft to use the CAMERA settings for the LOOK SOURCE?
 
alexandre moors said:
hello
First time on the server
I'm usinf Monkey Extract to render DPX out of a FCP XML
how do I tell the soft to use the CAMERA settings for the LOOK SOURCE?
Click to expand...

Hi Alexandre,

You are best asking this question in the relevent section in the RED Workflow forums. This thread is generally used for photography/cinematography related questions =]
 
Red Anamorphic VS FF

Red Anamorphic VS FF

Hi David

I did this quick test yesterday with Lomo Anamporphic lenses and Zeiss Spherical lenses shot at 4.5K

http://reduser.net/forum/showthread.php?p=582893&posted=1#post582893

Using the 50mm as an example ... as I have two of the same focal length.

Would a FF sensor make the Anamorphic image wider... would it have an increased field of view.

If so... is there any way to tell how much?

Thanks

Kip
 
Sure, any focal length has a wider view on a larger sensor... put you run into the problem of coverage, the image from the lens may vignette on the larger sensor.

With a 2X anamorphic lens, you only need to cover a 1.20 : 1 area of any sensor in order to get a 2.40 image once unsqueezed. Most anamorphic lenses are designed to cover the roughly 22mm x 18mm area of a 4-perf 35mm frame, though of course they have a bigger image than that. But it would need to cover a 29mm x 24mm area of a FF35 sensor (36mm x 24mm) if you wanted to use the maximum sensor height.

Right now, on the Red sensor, an anamorphic lens only has to cover a 15mm x 12.5mm area to get a 2.40 image. So IF the same 2X anamorphic lens could cover a 29mm x 24mm area on a FF35 sensor, compared to the view on a 15mm x 12.5mm area of a sensor, you're talking about nearly twice as much view. But I doubt that lens would cover 29mm x 24mm.
 
Thanks David

22mm x 18mm area of a 4-perf 35mm frame would be fine with me. Hopefully the Scarlet will allow close to that for anamorphic filming

Kip



David Mullen ASC said:
Sure, any focal length has a wider view on a larger sensor... put you run into the problem of coverage, the image from the lens may vignette on the larger sensor.

With a 2X anamorphic lens, you only need to cover a 1.20 : 1 area of any sensor in order to get a 2.40 image once unsqueezed. Most anamorphic lenses are designed to cover the roughly 22mm x 18mm area of a 4-perf 35mm frame, though of course they have a bigger image than that. But it would need to cover a 29mm x 24mm area of a FF35 sensor (36mm x 24mm) if you wanted to use the maximum sensor height.

Right now, on the Red sensor, an anamorphic lens only has to cover a 15mm x 12.5mm area to get a 2.40 image. So IF the same 2X anamorphic lens could cover a 29mm x 24mm area on a FF35 sensor, compared to the view on a 15mm x 12.5mm area of a sensor, you're talking about nearly twice as much view. But I doubt that lens would cover 29mm x 24mm.
Click to expand...
 
Help and Advice on Production Services??

Help and Advice on Production Services??

I have a production company in Tempe Arizona and we are beginning to work with film producers in providing an array of production services. I'm told that it would be best to be able to supply camera "packages" to include at least one "RED" camera. What model(s) do I need and what accessories do I need to meet the needs of a crew coming to town to shoot independent-level films? Any suggestions would be greatly appreciated.
 
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