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Ben Scott

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    London , UK

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  1. The Sumo is awful. Picture terrible and the touchscreen on mine died inside a week meaning I could not adjust anything.
  2. I'd like if there was a 'thanks for the information' button. And a 'what on earth are you talking about?' button.
  3. Pretty sure CML have tests along these lines and the Reduser SALT tests have both cine and stills lenses in them.
  4. Yes that's what I'm doing for now. Still a real silly design choice.
  5. Update on the Tilta kit - The baseplate fits the Tilta Standard baseplate, not an Arri Dovetail, which is absolutely absurd.
  6. Yes it came with both of those plus some short rods. Didn't measure the top rods but it all looked kosher.
  7. Tilta gear arrived today. Very well made and a great fit. I prefer my handles further from the baseplate so removed the baseplate-mounted ARRI rosettes but no obvious quirks or gotchas and loads of mounting points.
  8. I've just got some old FD glass nothing autofocus although I might try a Sigma or two.
  9. I've ordered the Tilta plates and they are due in the next week or so. Didn't get the Tilta V mount even though it looks nice because I'd rather use my rails mounted v-mount plate and be able to slide it back and forth for balance on the shoulder. Will report back.
  10. There's a world of difference between framing a 6k for a post-stabilisation and delivering a 4k final and extracting multiple shots from a single frame like people do in corporate land.
  11. I tend to use cling film with holes for vents, then a clear filter in the mattebox
  12. I don't think that shot is going to give many cinematographers sleepless nights.
  13. Expose for the key. Identify the uncontrollables in the frame and compensate for them with lighting/flagging.
  14. 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.
  15. 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
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