I believe that the camera is a character.
At its simplest it reflects exactly what it sees in front of it .
At its most complex it transcends simple transcription, drawing out performance, and propelling narrative, conversing with both the interior landscapes of character and the physical landscape of place.
Uniting people and the space they occupy.

Light Meters

Are light meters still relevant in this digital age? Do they offer any advantage over a plethora of exposure analysis tools now available?
I certainly use mine a lot less, and to be honest my spot meter is used more as a reflex action these days. False colour is the new spot meter, representative of the whole image… all at once. 

However I do believe there is still a use for the incident meter. The ability to be able to judge the light in three dimensions… While false colour, wave forms, zebras, traffic lights and histograms all give different aspects to exposure, they are all two dimensional representations on a flat screen. The hand held incident meter allows you to wander around the set and measure light coming from behind and giving you a 3D feel for the light levels.. extremely useful when shooting on location with the light levels changing all day. 
I’m probably old fashioned and working from habit, but this wandering around set puts a three dimensional mental picture of the light in my head that becomes my reference for the scene… and as a wiser cinematographer than myself once told me… it gives you five minutes to yourself, to ponder, away from the monitor committee.


It is all well and good to bow down and use the work of others as inspiration for your own work.
But don’t just copy it. Make it your own. Use your own interpretation to push the work further.
Otherwise it quickly becomes blatantly inauthentic…or cheesy…

It is a fine line between Homage and Fromage!

Using Format