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Ben Scott

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About Ben Scott

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  • Occupation
    Cinematographer
  • Location
    London , UK

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  • Website URL
    http://www.smallrebellionfilms.com

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  1. I don't think that shot is going to give many cinematographers sleepless nights.
  2. Expose for the key. Identify the uncontrollables in the frame and compensate for them with lighting/flagging.
  3. Absolutely. I guess that's what I am trying to explore the limits of - the point at which art/experience/eye takes over from physics and photometry and the immutable laws of the universe. 🙂 And then finding a way to communicate that to a team.
  4. Thanks for that confirmation that people interpreting that meter (or waveform/etc etc) information is kind of what makes the magic. I've been going by waveforms for over a decade to nail the key and then rough in everything else by eye but wanted to introduce a more scientific and repeatable methodology, especially when having to communicate to any other members of a crew. Was using the skintone as an example to simplify everything but really I'm talking about setting exposure from the key - whatever that is hitting - and working back from that. But absolutely yes once it is
  5. Hi all, I'm not a new filmmaker but am changing the way I work and figured this might be the best section for this question to be posted. I’m trying to move away from ‘close enough’ to absolutely nailing things in-camera as much as possible. Wanted to ask a question about light meter use. So let’s use this hypothetical - say you are using a camera rated at 800iso. 25fps 180deg shutter speed. Let’s say shooting Sony S-log3. You want to shoot a subject at F2.8 and have a key to fill ratio of 2:1 and a key to background ratio of 4:1
  6. My reading so far with my FX6 is at 12800 is the noise is fine if the footage is not underexposed.
  7. In that instance I'd be a person that offers solutions. Always great to be a person who takes problems away instead of adding to them. Take him to one side away from the rest of the crew and outline the issues and how you can get round them. Give him options on how to get the coverage he needs given the constraints he has and let him make the decision. And if you're clever, present the options in a way that will make him pick the way you want to do it but will make it seem like it was his idea.
  8. I sidestep the problem completely by not being that good AND not being fun to work with. 8-)
  9. If this is the case and you're doing the job because you cannot afford not to, then do what the Director wants and be fabulous to work with in order to get more work and more trust and more involvement next time.
  10. Yep - One of the hardest parts of the job is making sure everyone sees the same thing you do when you describe it and making sure you understand what the Director sees when he or she describes it. It's different for every writer, director and producer.
  11. You had me right up until I re-read and saw 'events'... :)
  12. Done overnight winter timelapses on the roof of a building on my own and STILL pleased about the suit thing :)
  13. Meh, every time I do a job that I know is going to not be good - for whatever reason I don't control - I just remind myself how lucky I am to not have to wear a suit to work and/or travel in rush hour to an office :)
  14. Huge fan on closer shots with a wide. Ever since I saw Brazil... And then Delicatessen...
  15. The fact you went into the shoot not having discussed and confirmed with the Director how you were going to frame the film means it's on you. And to have the soundman having your back means you've now got two members of the team 'against' the Director, which is a huge no-no. There's ways of of being diplomatic and trying to ascertain the reasoning behind a Director wanting a certain type of shot and supporting the idea while demonstrating how it can also be achieved in a way that will cut in the edit. These are conversations you have out of view of the rest of the crew, to whom you sh
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