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Robin R Probyn

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Everything posted by Robin R Probyn

  1. 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 ..
  2. 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 ..
  3. A big plus for the new Cine EI in the fx3 V2 , is you can use LUT,s , before you couldn't , only Gamma assist in the EVF , you can also out put the LUT over HDMI. And the base ISO has gone to 800 (like the fx6/9) from 640 (in the cine EI modes anyway) .. you can still shoot slog3 in the PP mode and add actual gain as before , or just over expose it , but Cine EI is just a much better way of setting an exposure off set (over or under ) .. and I agree with the previous poster , its to bring the fx3 better inline to working with the fx6/9 as they very often are used as a B / gimbal camera . I use mine with an fx9 like this, and very happy for the introduction of Cine EI, V2 also gives you a much clearer EVF in movie mode , which might actually be the biggest advantage .. now all we need is variable shutter ..!
  4. According to always correct Probyn's Criteria Its pretty simple if your freelance gun for hire , depending on the market you want to get into , there are only a few in each category these days .Doc / Corp Sony fx9 / fx6 ( rarer than a Ferrari GTO garage find) /fx3 B / gimbal OR Canon C300III / C500 II / C70 B camera gimbal , these will cover any shoot in that market for a jobbing freelancer and will be the only cameras ever requested . High end, Arri Alexa or Venice or the higher end RED,s .. this is not a judgement on any camera just what you will be asked for at the moment . No further questions your honor
  5. The fx6 has become such a unicorn , you could sell it for $100K and buy the Arri s35 ready to go ..
  6. You shouldn't get flicker off your own lights , 1/50th is the safe shutter speed for Europe or any 50hz country, re practical lights , fluorescent ,s etc .. but now they're a lot of LED lights that don't play by the rules .. but general rule 1/50th . Power is also 220v ..most pro gear is multi voltage , but in the old days you had to change out the bulbs in lights and plugs are different of course .. if your driving take care ! French drivers possibly the most aggressive on the planet ..
  7. Im shooting 23.98 almost always in a 50Hz location , 172.8 / 1/50th .. and not had any problems .. but watch out for LED / Neon / Sodium lights , they don't always play to the Hz / shutter rules . and any slo mo, bang off a quick test and play back for sure .. some light in the back of the shot can flicker and ruin everything ..
  8. Yes , he started young and had a lot of success very quickly ...
  9. Not sure if its been mentioned , but acclaimed Aussie DoP and director Jeff Darling is sadly no longer with us. He died while paddle boarding off the coast in Palm Beach SYD .Age 60 .he certainly shot a lot of great footage in a short space of time ..
  10. After my repeated requests ,at the garden parties , at last its happened .. arise Sir Roger .. maybe there is some use for this Windsor family after all ..
  11. Keep one camera on the gimbal , and the other for normal use , no way round the time to re set from one mode to the other , classic diseconomy by production , cheaper to have 2 set ups than waste the time changing between the two.
  12. Also how were you judging your exposure , EI only works when using a MLUT , White card is down about 60% I believe from memory in Cine EI mode , if you under expose any gamma you will get noise ..
  13. Do you see the noise after a LUT is applied ,have you tried any noise reduction in post ? what are you viewing it on , monitor is set to 10bit etc.@ EI 1250 you were "over" exposing by 1 stop which should give you plenty , unless it was just actually too dark for the camera (or any camera ) to handle .
  14. You laugh now .. but I have spoken 🙂
  15. Interesting reading this thread ,and Davids old post about DoF charts .I had one of those white plastic Sammys ones in the UK. Im shooting a Netflix doc at the moment , its quite decent budget, produced by Warner TV , and all interviews , walk and talk , of which there are many ,Im using AF eye tracking , on an Fx9 with Sony and Sigma E mount lenses, and it nails it every time , face only setting lets the subject leave frame without focus hunting to the BG . NOT saying the role of FP is over , but these days the tech is 99% fool proof for any drama , single , over shoulder , tracking etc type shots, AF is no longer a dirty word , I was quite surprised it wasn't in the Venice 2 ,at least as an option, as you have the E mount anyway .. I think its on the way ..
  16. Well the whole camera crew walking off ,not being paid for 3 weeks , and already it seems 3 incidents of a gun going off doesn't sound good , I would say this lady was not in control at all , my dad shot feature films but if I tried when I was 20 something, or even now, I doubt the result would have been the same , but more over I would never have got the job in the first place. She was cheap that the only answer , everything goes back to money , deaths , long hours , mental breakdowns , pressure , people shouting , bullying , .. its making a product for the least cost , same as making vacuum cleaners .. or anything .. squeeze the labour of those making it , ever has it been so , no union and your screwed , well effective union that is of course .
  17. Its the same old thing , money. The armourer seems to be no more like a student ,who 4 ,months ago was a studio camera assistant trainee ?? hiring cheap ,inexperienced people in theses roles = exactly what happened , and many flags had already been waved, the whole camera dept walked a few hours before , except the DoP and the Steadicam op ,because of safety and lack of promised hotel accommodation, they hadn't been paid for 3 weeks , it was a shit show already .. the producers of these type of films literally do not care about people dying if they can save $20.. criminals, no other word for it
  18. Gold mount is a very clunky system , they wobble around all over the place , and well yes maybe its me , but the Bauer batts used to be very ugly , , and yes I didn't like that on my camera , same reason I didn't buy a C300.. just a horrible looking thing .. Ive never had a V mount fall off any camera or monitor over 20 years of using them , I have seen them fall off when not put on properly sure , where as the gold mount will just wobble but not fall off, thats plus of some type I guess . Cheap knock off V lock batts and plates from China will wear quickly and fall off no doubt, you should complain to your rental house to get some new / better brand ones and plates . I cant remember the original post but for a user op camera person who travels out the US alot having everything GM is definitely risky as the rest of the world is V mount , if you have to rent on location you will be screwed in many countries if you use only GM ..
  19. I haven't used the RED MX, is that the one with the fan that sounds like a jet taking off 🙂 .. f5/55 fan is pretty quite , I guess it was quite enough to shoot 2 seasons of The Crown , my f5 in a quite room you could hear it right next to your head but I never once had an audio person complain to me about it. or post /editors etc.
  20. I would say its normal from my experience with f5/55 .. my fx9 does it too.. also depends the temperature of the room of course , but the camera will try to set a steady temperature straight away. I used to have mine set to auto , in a very quiet location it make a slight noise but never had to stop an interview because of it. Off in record is fine but if your doing very long tales in a hot environment there would be some possibly for damage I guess .. generally I would switch off any camera if I knew no recording for a while , save battery if nothing else
  21. 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 ..
  22. , .. 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 ..
  23. 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 ..
  24. 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..
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