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Ben Kahn

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About Ben Kahn

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  • Occupation
    Cinematographer
  • Location
    New York

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  1. Thanks. These both will be super helpful
  2. I'm sorry I took so long to respond. Thank you for the advice. I wasn't able to test the K-35's. I found both the Supremes and the Radiance were really sharp and kind of sterile looking. I wasn't crazy about them clean but I tried some filters (BPM, HBM and Satin) and it looked much better. 1/8 BPM felt the best. Would you recommend any other filters that might take some of the edge off of the sharpness but retain contrast? Even at the lightest the BPM made the blacks a little milky. Thanks
  3. Hello, I'm going to do a lens test for an upcoming TVC. Shooting on the Sony Venice so I'm looking for FF lenses. I'll be testing Zeiss Supreme and Radiance primes as well as Canon K-35's. I'll have a subject to shoot and a small lighting setup. I was wondering if anyone has a guide for how to go about the testing. What are the different variables I should be looking at? Thanks!
  4. Hello, I'd love to hear people's experience with the Blackwing7 lenses. I've been reading about the tuning capabilities and having a hard time wrapping my head around it. The 3 options are Straight, Transient and Expressive. Any examples would be really helpful. Does the tuning have to happen at the rental house by the technicians or can they be adjusted in the field? Thanks
  5. Thanks David, This is super helpful. How big do you think the HMI's need to be through the lower window? Would 3 4k's do it? I never thought about the menace arm over the balcony. The living room is small and we'll have 2 cameras so keeping things off the ground is ideal. That along with the Covid protocols of having everyone socially distanced. The more space we have for crew the better.
  6. Hello everyone, I have a TVC coming up and could use some lighting tips regarding a day interior (living room and kitchen) (pics attached). My question is how (or if) to utilize the natural light from the windows. More specifically how should I decide between the amount of natural light to use vs. using artificial lights. Or whether to even use natural light and just go artificial keep everything controllable. I have a sizable budget so have the freedom to bring in any lights I'd need and to pre-rig. It's an open white walled space so light will spill anywhere and while it needs
  7. Hi, I was looking to get some advice on lighting a car on a stage with a white cyc (picture attached, floor will be painted white). We have a 30'x10' Chimera overhead which I hope will do a lot of the work. The coverage is pretty straightforward-wide of the car and some tighter detailed shots. I'm sure there are many aspects involved in this but any little tips will help. Thanks
  8. Hi, By "free drive" I mean with a stunt driver so we are cleared to mount to the car. Thanks
  9. Hi David, Based on your advice I managed to get them to shoot dusk for night. Phew! I have another car question for you though. I am doing a free drive with hood mount for straight on and hostess trays for back passenger windows (separate setups). I'm wondering if you have any advice on shooting through the windshield. I'll be using RotoPola but since it's free drive I don't think I can rig anything overtop to help with glare/reflection. Should the polarizer be enough to see the subjects? Also, we'll be shooting around midday. Thanks again for sharing your expertise.
  10. Thanks David, Always appreciate your expert advice. I'll see if I can convince them to move it to dusk. I think I can avoid seeing headlights. I just need a close up of a reflection in the review mirror and then the 2 passengers in the back getting out of the car
  11. Hello, I could use some advice for shooting day for night scenes. I have a scene where a car drives up to a house, the characters get out and then a wide shot of the house with the characters in front of it. We will be shooting right around noon. I'd like to create some kind of a street light feel but if I ND way down I don't know how I can get any light to power through it. Thanks Ben
  12. Hello, I'm curious about the best approach to filming a table scene in which 4-6 people are sitting around a rectangular dinner table. Is there a method to making the eye lines work? In order to capture frontals of everyone you'd have to cross the 180 line at some point but how can you keep it from making the audience disoriented? Thanks in advance for any advice
  13. I’m curious about the role of DP’s during the prep phase for a movie or TV show when given an extended amount of time (a month or more) before principal photography begins. Is there a set of guidelines to adhere to? I’m sure it’s different for everyone based on personal preference and scope of the project but generally, what are the most important things to work on? I know testing lenses and determining an overall look (building LUTS) is a big part, but what are some strategies to go about doing that? With so many lenses and filter combinations it can be overwhelming and shooting c
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