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Robin R Probyn

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Everything posted by Robin R Probyn

  1. 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..
  2. 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 )..
  3. 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.. !
  4. Todays office .. could be worse..
  5. 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
  6. 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..
  7. 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 🙂
  8. Flooded between shoots I think sir ..
  9. Evan..I guess Bauer can do it in the US as its a big market and they have it pretty much sown up for many years .. but if you need to rent in any other country better check as most likely they won't have Gold mount..I guess Im programmed the other way.. anytime Ive used Gold mount they were was a lot of play.. but granted they would have been rentals..the whole mount was very big and clunky in design.. and the Bauer batts were were just ugly big square lumps of a battery.. Never had a V mount come off in ordinary use.. but you do have to check they have engaged .. in a really hurry they can seem to be on but not locked.. clever how AB have created this image of V mounts being lower quality .. ! I guess cheap dodgy knocks offs are all V mount as thats the world norm.. but manufactures like iDX / Sony / PAG are of the highest quality ..
  10. Outside the US.. V mount is pretty much 100% of owner/rental battery mounts .as are the camera,s of course ....Bauer was I guess forced into making their batteries Gold and V mount a few years back.. I presume to get any sales outside the US.. Im not saying the batteries are not of the highest standard, they are .. but V mount world wide is by far the most prevalent .. and so is 25/24p and 50hz . 🙂
  11. Not a hard and fast rule ,but generally for interviews ,its better to get your subject away from walls/ background.. as its a 2 dimensional medium.. to create some "depth" behind them.. and with a shallow DoF you concentrate ,literally, the viewers focus.. on your subject ..
  12. Dear Sir.. Thank you for your interest in your latest product .. unfortunately there have been some minor set backs.. please reference the picture above.. our engineers have been experiencing some slippage in the rest rubber band mechanism .. resulting in lost pixels in the mag..
  13. My next battery purchase will be these for sure.. even got a built in torch !.. can charge via USB direct to AC with tiny unit.. or stack on 2 ch charger ..
  14. Yes me too.. Ive only ever seen them in the US ..then I saw AB was making V mount batts too... presumably they were forced into doing so by flagging sales for their own mount..
  15. I bow to the Sony gods in their temple of pixel harmony ..
  16. Sony will unveil their new 8K camera tomorrow at NAB.. according my informants within the castle ..
  17. No Im very much an average freelancer .. a lot of the work is for TV broadcast .. it used to be the main stay.. but corporate video has become a much bigger market.. next 2 week shoot is broadcast TV... everyone has their own gear .. its really the only way to make a decent wage.. the enemy is production companies now buying their own camera,s or leasing from rental houses.. because they have realized that money could be theirs not the DP,s.!!. I think our differences on this come from you being in the art house.indie.. make your own films world... and Im a jobbing freelancer who only does camera work.. own gear its at least doubles your day rate..
  18. Nagra was invented by a Polish guy .. it means "will record" in Polish sir .. 🙂
  19. Your totally wrong money wise .. owning gear is the the only way to make a decent living in freelance TV /corp land .. and the camera,s have become much cheaper .an F55 even a Venice is less than I paid for an SD Digibeta about 16 years ago.. camera,s have never been so cheap to buy.. .. Ive had my camera f5..6 years or so and its made alot of money, a lot more than my wages.. tech isn't changing that fast.. you dont have to use everyday at all..I usually work about 100 days a year.. and never rent out any of my gear ... Docs for cinema release only must be a very very small ,market ..and dont they have talking head interviews ? that would be a very hard market to make a decent living as a DP I would think .. biggest rising Doc market these days must be Netflix .. ! ie 4K ..if they are paying for it..
  20. Best year since filing for bankruptcy.. .. thats a very relative statement .. :).. if you were to look at a 20 year sales chart I would bet the farm its going to look like the down hill in Kitzbuhel..actually of all the doc camera people I know only one has an Amira.. unlike movies ,where for sure Arri rules supreme.. for TV Docs Sony does.. mostly because of the need for 4K..(C300 dominated in HD days but they left it way too long for the 4K version) their other big competitors from the ⅔ ENG days ,Canon and Panasonic have dropped away big time.. esp Panasonic .. and the massive success of the Fs7.. Amira is a fine camera but too heavy and battery thirsty .. plus not 4K.. as an owner /user freelance your dead in the water without 4K now.. dont remember ever a request for Amira for a doc shoot..Agreed RED has always been a smaller sort of hipster market.. but I believe their sales are good.. I know a lot more people with Reds,s than Amira,s come to think of it.. :)..small company so I guess they don't need huge sales either.. 8K.. Jesus I really hope that doesn't happen.. total bollocks to sell TV,s..
  21. But Manu.. digital can look like film and film can look like Digital .. there isnt one generic film look .. that all those Directors want.. film can be very sharp ,digital can be very soft looking.. again this idea that if you shoot on film there is some mystical ,magical quality .. and it must be good because famous directors like film.. alot of those people in your list have made some really bad movies .. guess what.. shot on film.. Top DoP,s can work with digital and make it look great.. just as they can with film.. Barry Ackroyd has shot digital .. although a film fan..and it looks exactly like his work on film.. and anyway shooting film doesn't fix a crap movie ..
  22. Yes sure.. Im not saying the DP decides the medium.. if the Dir wants it they will find a DP who will do it.. I just wonder how long film will be around purely for ecomnic reasons .. the higher chance of problems inherent in the film workflow.. and the added cost.. I mean part from large budget movies..and very few of them..and the other end of short end Indies . nothing is really shot on film anymore .. there is the rest of the industry out there too.. film is gone I would say completely from main stream doc/corp/industrial shoots and pretty much most TV shows.. what was the reason for that.. answer .. money.. Digital is massively cheaper in those markets.. RED isn't anywhere near dead .. they have just come out with a very fancy rental only camera.. based on the one they custom made for Gone Girl I think.. ?.. Red is very popular in Indie/commercial /Music videos.. you almost have to own one to work in this markets .. and a pony tail :).. where did you get the idea Red was dead !!.. And yes Arri have taken over .. taken over film more than they have Red camera,s.. with this new Mini I think the grasp will be even more .. ! My Deakins reference is not to do with his style .. but that he is as you say a very experienced DP with a huge amount ion films under his belt.. but has gone on record as saying he often cant tell film apart from Digital .. this is to debunk the old chestnut that digital cant look good.. Now today it can.. you can shoot raw and Log.. same DR as film or more.. any sort of post you want.. As I say .. Im not a digital fan boy or film fan .. I,d rather work in digital for my shoots because its juts alot easier and the look is better I think for my market.. very often not having much or any control over what's going on..but clearly the writing is on the wall for film in the big picture.. any sort of 15 year graph would show this..maybe unluckily for film Arri was the camera maker who got it right.. with a sensor they made 9 years ago ..
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