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Robin R Probyn

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Everything posted by Robin R Probyn

  1. Don't know about run if the mill Chinese productions , the ones that get international release look great , but possibly there is the same thing as here in Japan .. I mean it might just be not very good lighting , and I guess sometimes thats the case , but I think its more a cultural thing of seeming to just have a preference for "brightness" and a lack of any shadows .. Ive just watched about 15 commercials on TV and not a single one had any shadow on a face , and the whole image was very flatly light ,and bright ( tons of text too but thats a different thing) .. I don't think that would happen in the UK/ Europe / US .. you are going to see a shadow on a face within 15 commercials ..
  2. , .. I guess Im basing it off what I see everyday on TV here , everything is very very flat lighting , and 90% of films being churned out , mostly based on successful day time dramas .. maybe they want to keep the same look .. commercials that obviously has big budgets are the same .. not a shadow in sight in at least 95% of them .. some exceptions but definitely compared to western commercials / films / TV drama,s the lighting is way more flat regardless of the "mood" of the scene .. stills photo advertising too ..
  3. They have kept this 2D look in their animation too.. largely , and not gone with the hyper realistic look of Pixar etc .. and I feel still in a lot of drama / commercials .. the lighting is incredibly flat / all at the same stop and without depth, as a style rather than just rubbish lighting ..(well sometimes it is ). even private homes still usually have a large ,round or square fluorescent light in the middle of the ceiling in each room , and thats it .. seldom any other lights unlike the western aesthetic ..Ive often heard from Japanese people that will like a film we have seen , but don't like that its so "dark" and "depressing " .. there is definitely some cultural bent towards "brightness" and seeing every corner of the frame / room ..
  4. Its the same as FF to s35 sensors ,..1.5 x.. for example a Sony fx9 (in FF mode ) to an fs7 or an f55..
  5. Give the director / clients monitors that can load LUT,s .. don't be tied to the camera onboard for what the client / director sees ..
  6. Interesting ,Im thinking to update when the new MBP comes out , would be dealing with XQD cards , I hope they work and its not some big wait For Sony to release updates or information to Apple .. used to be the curse of the old Sonnet SxS card readers , every Apple OS change it was gamble if the reader would work , then Sony taking a long time to give out the necessary info to apple
  7. Flying internationally for sure , I think your going to get your bags opened every X ray .. I strongly advise against using white sand ..
  8. If you can get hold of a Small HD monitor , they have built in 9-16 frame lines .. you could then set up your camera EVF user box for 9-16 , and then output display to your TV logic and match up the frame lines .. or just ditch the TV logic and get a small HD monitor 🙂
  9. Yes in the Desert Rats, captured at the siege of Tobruk .. being assigned "navigator" as a kid, on long car trips in the UK in the 70,s was not a walk in the park .. and quite similar to the movement of a tank battalion .. 🙂
  10. haha yes so true .. I did that job a few times, as well as doing the tea runs with the slate as a tray .. TBH I still think Badlands is Maliks best film to date .... the music is just so good ..
  11. I don't get it .. cant you permanently instal production lights ."for daily use" ...isn't that what a million studios around the world do ? thats why they cost more than LED lights from Walmart .. but you are talking about studios no ? they cant afford tv lights .. I would run from that job .. 🙂
  12. ok thanks ,so its totally an aesthetic choice , I thought the 4K resolution requirement was some problem ..thanks and good luck with the shoot ..
  13. But doesn't Venice have a 4K 4-3 mode .. cant you just shoot that and spherical lenses ..why shoot anamorphic but 4-3 final aspect ratio .. Im sure Ive missed something here .. but ..?
  14. .. why not just shoot 4-3 or anamorphic.. is there some reason to try to do both at the same time .. seriously question not knocking the idea .. just cant get my head around it .. 🙂
  15. Although equally you could argue , and Im sure its been done .. because you can have DIT,s , calibrated monitors , LUTs etc, you really can see what you are going to get with digital , you can get it very close to what you want the end look too be .. more so that film .. except maybe a few very experienced film folks .. but even Sir Roger had anxiety over the next days rushes .. 🙂
  16. Well most big shows are shooting raw or at least slog so there is bound to be alot done in post .. but film is also just the negative .. it will need quite a bit done in the lab and post .. its a bit if a generalization to say there is more in digital than film .. and anyway is it not better to have options in post ..
  17. Well I would disagree again.. almost every think looks good these days .. the average standard of "cinematography " has never been higher .. there is stuff on you tube shot with an A7s that looks way way better than "high end " commercials / feature films of 15 -10 years ago .. its a bit much to say young DP,s don't care what the image looks like !! .. they do and they are producing way better camera work that the generation before them across the board.. the evidence is just massively obvious ..
  18. Totally disagree .. its the opposite ... films / tv / commercials / docs are all looking so much better these days ,than ever before .. big budget films for the 80,s even 90,s look like shite in comparison to much small budget productions now .. the average level on all productions is massively better than 15 years ago, to say that younger generation DP,s don't care abut the final image ..is just totally wrong and insulting .. what is the evidence for this statement.. look at any recent show and it looks amazing .. whats going on here .. why this dissing of the younger generation of DP,s ..they are far better on average the. ever before .. there are quite big time DP,s of the 70,and 80,s who wouldn't get a days work these days .. the bar has never been higher ..Jesus.. have you not been watching Netflix / HBO etc .. everything looks good .. every feature film looks look ..
  19. Shooting anamorphic but then cropping 4-3 for delivery ..? are you sure he doesn't mean using a 4-3 crop on the sensor to shoot 2 x Anamorphic ..?
  20. But surely thats the same for film .. Ive been a lot of film sets that looked nothing like the finished graded shots .. you could see that all the time on the old DVD ,s that had the out takes after the film .. ungraded they looked quite ordinary alot of the time .. And video sets with DITs adding LUTs to calibrated monitors that looked great .. ?
  21. Simin .. this lens is over 8kgs .. !! its on a video camera .. what is your point sir .. ?
  22. ??? you never heard of the French / British new wave .. it was all to do with light weight ,hand held cameras .. it must be one of the biggest changes ever in the film industry, to get away from massive studio bound cameras and be able to shoot in locations / cars / hand held etc .. you are not really saying film is better because the cameras are heavy .. or have I just had some bad acid and not read you post correctly .. could the "others " be some how banned from anything about cameras .. its pure Kafka 🙂 ..
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