Every photographer knows the drill: “I have to shoot two to three hours,” says the editor who shoots the videos for his clients. “I don’t want anyone to realize there’s another photographer.” So if your camera is on a tripod, take the walk-through to the beach to assess your lighting; that’s going to be your bread and butter. If you’re doing it right – with a lot of light hitting your subjects from every direction – you should not even notice the difference in shots. But the problem with this approach is that at the beginning, it creates an intimidating feeling like you’re shooting in the dark, even though the light is on. “You can’t trust your eyes in low-light,” says the editor. For the most part, he or she will try to light the film. “When you shoot a film,” he adds, “you have to trust your eyes and the camera.” That said, it is perfectly true that we’re the only ones in the world that can look at a photo and tell when we’re in the right frame of the frame. I’ve shot many a film shot I can’t believe has ever been published – a beautiful shot shot that looks wonderful from a distance, an out-of-focus shot that has to be fixed at the next shoot – and still, all other camera gear is on a tripod. And this may well be because the edit comes later, and in this case, it’s the post production that has to come. “The editor has to take the shot that looks the best,” says Simeon. “You can’t trust your camera.”
How do you adjust your lighting in post?
“We have the light meter on a small table,” says the editor, “and as you see in the photograph, our tripod is in a corner of the room. The camera and light meter are all pointed in the same direction, so we’re able to adjust our settings. With the lens, we’re using the manual focus or a digital zoom, and the other two are handheld.”
How do you get around your location’s lighting if you’re not in a studio?
When you work on location, you’re usually in the camera room, which means your environment is in direct sunlight, which gives the lens plenty of light. That said, you have the option of using either flash or long lenses to get some distance and add the illusion of having the light fall on a person – something no director wants. In many cases
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