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Eben Bolter

Basic Member
  • Posts

    6
  • Joined

  • Last visited

Profile Information

  • Occupation
    Cinematographer
  • Location
    London / Los Angeles
  • My Gear
    Own 5D3, BMCC 4K, specialise in Alexa, RED, Sony F series, 16, 35mm
  • Specialties
    Close collaboration with directors to best visually tell their stories in as cinematic a way as possible. I've shot 12 features and over 100 short films and specialise in drama.

Contact Methods

  • Website URL
    http://www.ebenbolter.com
  • Skype
    ebenbolter
  1. Thanks Kieran, I still find my reel gets me meetings, my longer form work gets me jobs. Appreciate you taking the time to watch and feedback.
  2. Hi all, I'm a UK based DP signed to Wizzo Features and I've put together a new reel concentrating on my drama work. I've tried to take a more structured approach to my reel and would love any feedback, good or bad that anyone cares to offer. password is ebc Eben www.ebenbolter.com
  3. Hi guys, After watching the excellent THR cinematographers roundtable, I feel compelled to draw more attention to one of the key issues they discuss - the lack of control of the final image in todays modern world of different screens and projector standards. I've been lucky enough to have a few films I've shot recently coloured by Rob Pizzey and Adam Glasman at Co3 in London and we've achieved results I've been delighted with in their colouring sweet, both in the P3 space on their projector, and in Rec709 on their Dolby monitors. The problem however, is when we output to home deliverables in Rec709 h264, the image is so drastically different on my home macbook, iPad, TV that I find when sharing it I'm constantly having to explain and apologise for the final quality. Personally I've found this much less of a problem with DCPs in theatres, but modern displays at home are surely capable of better. It strikes me that rec709 (created in 1990 for TV) surely can't still be the answer for grading to a standard that will look good across all devices. Of course the issue is in two parts here, but is there a push anywhere to standardise a modern colour space and standard across hardware, that can reap the benefits of more dynamic range, contrast and better colour representation? I've heard about rec2020, but as far as I can see this seems to be just for 4K TVs? Would love to hear your thoughts and hopefully there's an answer out there in the works, to ensure a more modern and standardised presentation of the work we do in peoples homes and on their devices. Eben
  4. Hi everyone, thanks for your feedback, very much appreciated. The director ended up settling on a warmer look, which I created using Lee 652 Urban Sodium on a 2k bounced through netted windows. The results can be seen in my reel, around the 42 second to 1:07 mark for the feature 'Greyhawk'. Feedback good and bad always warmly welcomed: https://vimeo.com/61088842
  5. I'm shooting a feature this coming February on a council estate in London, and I'm wondering if anyone has any experience using practical Sodium fixtures. I've replicated Sodium using 1/2 CTO and 1/2 straw in the past with varying degrees of success, but I'm looking for a very cheap solution this time, as we have an incredibly limited lighting budget. The desired end result is to create a very low colour rendition, almost monochromatic like as in the example below (which is raw from the camera). This is the sort of light I'm wondering about, does anyone have any experience with them? http://uk.rs-online....lights/0237265/ Thanks guys, appreciate any help. Eben www.ebenbolter.com
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