Robin R Probyn

Im doing this sort of work a lot . Doc and corp . For interviews ,generally speaking , the main thing you need is a source big enough to give a nice soft key. It's better to have even just one large key light than 5 little source lights in a box. Now the vogue is for much more natural looking lighting , I'll very often just use one large source key , a couple of tube lights for the BG if needed , but never use fill or hair lights, video slash on the BG, and all that old 90,s look ? . I use the Intellytech mega6 for a key light , if the kit needs to be really compact the 4 x1 panel . These lights are good as they fold down to a 1x1 size and can be battery powered . And a foldable negative fill , you will often need this in white walled corporate rooms with light bouncing around making the image flat . So I would suggest a large key light is your priority , but still transportable , forget setting up book lights , no time or space usually. Matt lights that roll up can be handy but they tend to break quicker than foldable panel lights . COB lights will need huge softboxs , they are relatively quick to set up but take up a massive amount of space , to the extent ,that some locations you wont even be able to use them . Just use panel lights if you need a soft source .

Just saw this , I'm around except the 12/13th .. you can get a contact from my website, just google my name should come up .

French Bee , wow never heard of that airline , I guess budget airlines cant afford CDG landing fees or don't have slots to even land there , and go to Orley . All the usual suspects will be using CDG . If production was putting me on that airline I'd be worried ?

You might have flown from Germany to Orley in a smaller plane , but pretty much all the long haul flights from over seas will fly into Charles de Gaulle , it's actually known as Paris CDG , but yes good call to check . Always someone on strike ? classic !

Keep an eye on your gear in Paris , stuff gets stolen very quickly . Great city ,but being rude to the customer , in any situation is part of the visitor experience . Most people will speak English but pretend not to , be careful what you say. The airport is way out of town . France is 220V / 50Hz. Safe shutter for flicker off tube lights will be 172.8 / 1/50th . Learn the Carnet form ,its not that difficult , customs quite often make mistakes on dates or where they should sign , or even I had one keep the wrong page ,then it's a huge pain getting your money back at home base. Of all the worlds cities its not a bad one to be sent to. The driving is pretty aggressive . It will be great don't worry .

Wasn't it shot on an fx3 ?.. don't need no Alexa for night scenes !

Ive gone for Intellytech mega 6 4x3 for the same use , interview key light .What I like about them as opposed to this one ,is that it comes with all the extras , soft box , diffuser , and grid . clamps , and even a ballast stud clamp, and carry case.They also have these fast pop up diffs with grid now. The problem is always spill all over the place , without a grid a real pain to control . Just buying this by itself you still need a load of stuff to make it work . Im sure it's a good light though, and definitely the way to go for location work then COB lights with massive soft boxes taking up half the room.

If there is not enough light on the sensor , it will be noisy , even at 4000. Thats just physics and will happen on any camera . Add light , except the noise , or shoot day for night .

Intellytech lite cloth V3 are exactly this , the 8 panel Mega lite , and the new 6 panel Mini Mega ,Ive just ordered , great for interviews , close of mid shots , but yes limit to the power , But now you have Venice 2 with dual ISO l high base of 3,200 .. with basically the same noise as 800 , !! There is some ides that book lights are softer than just through a frame , all they are doing is evening out filling the diff frame in less space , but pain to set up ,Im with you , for interviews especially , you really don't need this anymore , a large LED panel is absolutely the way to go

Someone with a nice car and many ex wives ..

I thought an eye light as the main lighting is very soft , and the refection looks so small .

Its an eye light done for effect , ie the reflection of a small light in the eye, personally I think its pretty much over done and a bit of a legacy technique , like strong un motivated rim lights , I saw an interview from a doc recently, with a really strong eye light and it was very distracting ,

Every filmmaker is a frustrated editor ..

Used to go to the Cricklewood lane place in the 60,s ,early 70,s as a kid with my old man , Sammys used to send us a xmas hamper from Harrods back in the day ! also remember the Sydney one in Artamon ? North Ryde or somewhere like that near the ABC, in the early 80,s ..

Shutter angle I dont care about , its often easier to calculate non flicker shutter by speed , and it all looks the same anyway , what I what is variable shutter , like the larger cameras have had for many years , it can really save the day . Its a risk for anyone shooting with fx3 as their only camera on an un recced location ..