I received an e-mail query from a University of Colorado cinema student approaching his first interior shoot with 16mm Kodak Vision 500T raw stock. His central question was how to expose the film using studio lighting, in this case a kit limited to three open faced quartz lights. Although he …
“Love the Look: And Leave Your Spot Meter at Home” by Thomas Ackerman, ASC Read More »
Over the years I’ve answered many questions from students regarding lighting. One thing I want to emphasize is that what matters most is developing a visual imagination so that one can “see” the lighting in one’s mind. I don’t think one should tell someone how to light something, just as …
INSIGHTS: M. DAVID MULLEN, ASC Q & A on Lighting Read More »
Motivation is not just something actors need – it’s something cinematographers and other cinema artists deal with every day when making a movie. This not only applies to how a set is lit, but also to elements like camera movement. When to move the camera, why to move the camera, …
“Notes on Camera Movement: When to Move the Camera and Why” by M. David Mullen, ASC Read More »
You’ve called the actors on the set to rehearse. The crew eagerly awaits a camera set-up, and the writer is anxious to see how her brilliant scene plays. But then one of the actors (and just hope it’s only one) has a serious problem, and nothing can go forward until …
Many times when mixing a project I’m confronted with a classic problem. The location audio does not match the studio audio. One famous example is with dialogue replacement. The dialogue that was replaced sounds significantly different than the original. Let’s look at an example I constantly deal with: two people talking in a car. The acoustic quality inside …
“Re-creating Space for Dialogue Replacement: Matching Location Audio” by Bryant Falk Read More »
Most articles that deal with production sound recording for video and film tend to cover microphones and recording/mixing techniques. I am not going to cover audio from the Sound Mixer’s perspective, but rather from the contributions of other departments. Why should other departments care about improving audio? After all, except …
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One of the great pleasures of moviemaking comes when the raw footage has finally been edited enough that you can sit down and, for the first time, watch your whole movie from start to finish. Sure, the soundtrack’s pretty rough, and none of the effects are in place, but there …
“Editing is Re-editing: ‘Six Habits of Highly Effective Editors’” by Mark Kerins Read More »
As most people know, the stylistic trend in cinematography over the century has been towards greater realism, which has been easier to achieve in low-light situations thanks to more sensitive film stocks and electronic sensors, plus faster lenses. There has always been an impulse to make the lighting in a …
“What is Realistic Cinematography?” by M. David Mullen, ASC Read More »
The color palette of a film is a subtle way to visually enhance the emotional aspects of a film and guide the viewer to respond to it on a visceral level. Understanding the basic components of color, warm colors and cool colors, as well as how the audience responds to …
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