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Benny Tan

Basic Member
  • Posts

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About Benny Tan

  • Birthday 09/07/1994

Profile Information

  • Occupation
    Cinematographer
  • Location
    Orlando, FL
  • My Gear
    OWN Canon 5D Mk III, EF 24-70 2.8 II, EF 70-200 2.8, 50 1.4, 14 2.8. Experienced with ARRI ALEXA, Canon Cinema EOS, ARRICAM ST/LT, ARRIFLEX 435, 416, SR3, BlackMagic Cinema Camera.
  • Specialties
    DP / Camera, Grip & Electric dept.

Contact Methods

  • Website URL
    http://www.benny-tan.net
  1. By using the ultrabounce, you're essentially creating another factor that affects the quality of the light. I'd like to say that the reflective qualities of your ultrabounce will play a similar role to the size of the light you're using. A bigger light will give you bigger punch, and give you a different quality of light. For example, moving your light source away from your subject and using a larger source will give you a softer look. As Phil mentioned, the ultrabounce will bounce as much light as you throw at it until it catches on fire! :wacko:
  2. Welding gloves? I got myself a simple pair of Setwears that handle just fine. They're handy on location when you're dealing with gear that's been out in the yuck all day. I'd start building YOUR toolkit before moving into other grip equipment as typically they'd be included within the production budget. A multitool, flashlight (head harness straps are pretty darn useful keeping both your hands free) and even writing utensils are great to have. Clamps, gaff and tie-downs are very portable and near-essential.
  3. Hi Shashank, What exactly is your question? I'm not sure how much your description of the story calls for a high contrast look. A rainy overcast day is going to call for much more diffused, soft and gloomy light than a high-contrast thriller. My experience with 19 stock has been great. Later in the week I'll be down in the lab to process some older 5260. 19 is a very versatile stock - very nice grain control, good shadow detail and plenty of room to push, which are all advantageous if you do decide to go the high-contrast route. You may want to leave some of the contrast to post. It's easier to bring your black levels down than it is to try and bring your shadow levels up.
  4. My only advice would be to better time your cuts to the music. In all honesty, as a Cinematographer, you're still a storyteller. I'm not sure how much experience and content you have under your belt, but cutting in a more narrative style (even if it's still edited as a montage) may reflect well on you.
  5. Excellent, James. This just made my day! :blink:
  6. Have you considered a basic speedometer app available in the appstores? I'm sure most of us have a smartphone with GPS nowadays. You wouldn't have to worry if it's not calibrated perfectly so much, since the inaccuracy would be consistent for each take, anyway. It would be by no means perfect, but a free solution!
  7. There's some pretty good stuff in there! I'd suggest trimming it down a little shorter, and look towards timing and pacing your cuts for a little more impact. The role of cinematographer involves storytelling through a visual medium - I'd try and cut your reel to form a little story/sequence of its own. Just my two cents. You've surely got a lot more than I did when I was in high school, and that wasn't very long ago! :)
  8. One advantage of camcorders can be the fact they hold 3 CCD sensors - one for each primary color, whereas any SLR will only have one. There are an endless array of what you could buy these days. Every digital camera you've mentioned will do the same - shoot high definition video. The best way to view this is to view it as an investment. Any of these cameras will become obsolete just as quickly, so think of how much work you expect to receive in the immediate future and work out a plan as to how much you can invest and earn back. Do keep an eye on the new BlackMagic cameras that are right around the corner - the 4k camera, and a pocket camera that'll be priced at $995.
  9. Ben, I'm starting to see where you are coming from. I wouldn't quite agree with your gel selection, however. Daylight seems like the bluer of lights. Depending on the script, I'd imagine daylight to be harsher, meaning to recreate that you'd want to motivate a blue (daylight balanced) light and light with stronger contrast. That being said, the overall light levels of your scene should be far higher than your night-time shots, where background elements can fall off into shadows. In a bathroom and lounge, we'd expect lights from the house to be motivated by softer tungsten (warmer) lighting. I'd light them to a lower contrast ratio than your daytime scenes. My only fear in your bathroom scene, if you're using your key light to be motivated by the room light and shooting against a blank wall, your shot may appear very flat unless you (more specifically, art dept) creates depth through thoroughly planned set design. If you're shooting in the daytime and have trouble lighting to suit, always expose for exterior, then dial in your hallway and other shots to match. Otherwise, you seem to be on the right track. I can't say too much without the script or any other information about your project, but all the best!
  10. That's quite a shame! Talk about foreign monopoly of local industry.. On a side note, it's good to see some fellow kiwis on here too :lol: B)
  11. Impressive! I definitely second David - dramatic lighting will work wonders. Some shots appear a little flat and dull. You seem to have a good grasp of the fundamentals from depth of field to composition - and I'll be honest and say this tops many things I see from Film school students & graduates! All the best with the BlackMagic. I'm waiting on one myself too!
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