Robin R Probyn

Yes I see your point ..but that's also my point.. there are not doing the job of a Dop.. and obviously there is no exam.. I guess its my generation, as a camera assistant in the 80,s UK .. was the last that you would never dream of calling yourself a DoP... unless you had quite a bit of experience .. I mean really people would take the piss if you did that ..you be laughed out of the room.. it was more a respect thing that an elitist thing.. and still I have to say I think its a joke that some people are calling them selves a Dop.. with an A7 a week out of its box.. they are not.. they are learning.. and best of luck to them.. its a job title you earn.. ... and a feature film is not going to the park with a BMX bike.. 🙂 PS I don't call myself a DoP either .. thats not where Im coming from..

Lighting Cameraman was also used for TV drama.. docs with drama reconstruction, type shoots.. as opposed to DoP which was seen as the title for movie camera people.. It was what the high end TV camera people would call themselves .. but without presuming to be called a Dir of photography ..as this was the more lofty title of those who were working in the film industry .. All changed now.. but I still find it weird that people with very little experience will call them selves DoP..shooting a "feature film" .. on the crappiest of shoots.. could just be Im being an old fart.. but I think people should earn that title .. it doesn't come in the A7 box ..after you shoot your mate on a skate board for YouTube ..

Dont use any silica.. it was massively humid..and very hot.. you can't have your room like an AC induced ice cube.. cant do straight from cold to hot.. basic stuff really.. solid state camera its all a lot easier.. tap cameras were far more of a problem.. had a built in humidity sensor.. which when triggered would just stop the camera from recording.. you just had to switch it on and leave if for an hour or more..blast with hair dryer etc.. then it would automatically lace back up when the sensor deemed the levels were ok internally.. or the dreaded tape stuck to drum.. good night Vienna ..need a new camera and try to save whats on the tape..

Its very far from Ireland..and about 100 times hotter ! but it is an Island in Thailand ..

Personally I would use SDI.. which of course the f55 has.. 20 days shoot /doc/ handheld ..HDMI is a notoriously weak connection.. not pro level really.. F5/55 Slog on a doc I do this.. hundreds of times and never been a problem.. set your viewfinder and monitor out to Rec709 800 LUT.. then set your exposure as you would shooting Rec 709.. I do it by eye .. but you can use zebra etc.. but basically if it looks OK in 709 your underlying Slog will be totally fine.. I would never shoot with Slog in the EVF.. receipt for disaster,very hard to tell exposure/ lighting as its so dark and you won't be able to see focus very well as its lacking in contrast..the Slog image was never meant to seen at all Big gottcha on the f55.. maker sure you dont set the monitor LUT to Internal /SDI 3 and 4.. internal will mean you will record the LUT !!! once done its good night Vienna .. correctly set SDI 1 and 2 will give you a Luted minter feed 3 and 4 will be Slog feed.. There is a little known trick.. in there assign menu there is a High/Low. option.. set it to one of the assign buttons ..press once it will show what your high lights are doing.. press again it will show you your shadow levels..press third time for off.. in the under lying Slog.. you can just also toggle off the LUT.. but High/Low is a very good quick check.. Why Slog 2.. I would advise Slog3.cine.. much easier tho work with in post .. Slog 2 is a bit weird .. its not even in the Venice camera.. dont think anyone's using it much anymore .. very least I would make sure you colorist has previous experience with it.. You know really I would go wireless .. especially as your 80 % hand held.. its so much easier.. than a dir running around behind you trying to see the monitor .. that just doesn't work.. re nits.. the higher you go is brighter .but there is a limit where the difference becomes very slight..as the numbers go up.. its a not a straight line.. I have 800 and its ok.. but yes 1000 should be fine.. but if your wireless the dir can have a shade or be in the shade.. they will usually do just that.. with a drink ..!

Small HD Focus LCD is under $1000.. there is an SDI model and HDMI.. 800 nits.. pump up the brightness is pretty much bright day light viewable .. there is a shade you can get for it.. depends what you shooting but I find a 7inch monitor is a bit big as on camera if your moving around a lot .. really for docs wireless is the way to go I think.. teradek Bolt 500.. wooden camera directors cage.. 5/7 inch monitor .. easy and simple.. rental houses will have wireless set ups..

What shutter angle are you using.. if your in the US try 1/60th.. or 50hz land try 1/50th... instead of 1/48th .. dont dim the lights.. (if you are doing that )..

Roughly speaking you want to make your shutter angle a multiple of the countries frequency... eg.. 1/50th /1/100th in 50Hz / 1/60th/120th.. in 60Hz countries .. for "normal" motion blur in cine mode there is a 180 degree "rule".. shutter is twice frame rate.. but if your shooting say 23.98p in a 50Hz location use 1/50th.. even if you have a 1/48th option.. to avoid flicker from practical lights .. LED is also tricky as if they are in anyway dimmed then will flicker what ever you do.. !

Todays office .. could be worse..

1.3 might be better for 16-9.. ?

ha 2000 ISO not 200 🙂

Sony Fs7/f5.. have a locked 200ISO in Cine EI mode....AFAIK.. Sony engineers decided that ISO 2000 gave the best dynamic range as judged from a mid grey level.. ie over exposure and under exposure latitude from a mid grey point .. can't remember exactly .. how many stops either way .. its a bit different from the Arri method .. but sort of the same thing .. DR stays the same you just are cutting off from the high lights or the shadows .. by intentionally over or under exposing in the Sony EI mode.. by shifting that grey level up or down

But isn't Stuart saying the FoV will change depending on the sensor size ..?.. the focal length, as a mathematical equation will not change of course..

They dont care about digital or film . of course they dont..we dont care about the AC system we just want it to work.. but no doubt on the AC engineering forum debate is raging on wether the GE influx compared to the Hitachi follow through systems ..is rubbish or not The great un washed want decent content ,a good story .. thats 90%..then they want to hear and see it .. they know lighting that doesn't suit the mood.. they know dodgy sets/stunts and SFX..grab 100 coming out from a good film they have enjoyed .. not one will care if its film or video.. expect the ill fated 48fps hobit thing.. if ever there was a case of not wanting to tell the boss he was dead wrong with an idea 🙂

Flooded between shoots I think sir ..