Robin R Probyn

But you were ok with Ewan McGregors accent .. ? .. but TBH there were alot of feature films ,even shot of film , that by todays standards didn't look great .. over lit ,multiple shadows ..

It makes you wonder .. that in 2002, a major feature film ,with big stars ,was shot ⅔ inch sensor 8 bit .. and folk didn't run screaming from the cinema .. well except for Ewan McGregors very odd English accent ,which would have been just cause .. and now production are worried about an A73 as a B cam for corporate interviews because its 8bit 420.. and I even got a request to shoot a non VFX TV documentary, running around a mountain for days on end, that had to be 12 bit 444 Sony Venice .. .. I mean I love my little Fx9 FF sensor ,mostly because it makes interviews easier .. but the numbers game is getting a bit out of hand .. 8K ..don't get me started .an ego project from the suits in NHK Lala land .. have to admire the marketing though I guess ..

One Star Wars was shot on an F900 ! ⅔ inch sensor HD..

I think I have become the champion down arrow scorer of late .. anything deemed anti film will get one .. even when its not anti film.. I have my suspicions.. and there will be a day of reckoning .. they will pay dearly for their transgressions .. they will be broken upon the digital wheel.. and scattered to the wind ..

Again the massed entourage ,she is a Louis Vuitton ambassador , made me make the lighting flatter than I had it originally .. but she s a striking looking lady so not difficult to make here look good .. no filters .. Sigma cine zoom ..

I never had the raw footage .. it was edited in the US .. but here is a screen grab ..

Ive shot an interview with her .. very nice lady ..

Isn't that a pretty big draw back to using a film camera then.. " ya never truly know" if its in focus as an operator .. !!! . how can you shoot a documentary .. you need a focus puller working on the fly at all times next to you.. but a digital camera you can tell immediately... if that job was paying my divorce settlements ,I think the Digital camera would avoid me getting sacked after the first rushes are viewed .. or is being able to tell if a shot is in focus a negative (see what I did there ).. in a camera .. Im confused ..

There you have it.. this is the truth .. from someone who actually knows what they are talking about .. working in the main stream... nothing more to say ..

Yeah thats true .. probably I was lucky Barry Ackroyd and the directors he worked for, actively didn't want sharp focus at all times like a machine.. that would make them go again .. the advantage of being a shite FP.. ? I was sometimes told to rack past and back on purpose .. or he would physically move to achieve it.. of course its a style he's known for.. but it certainly wasn't a job I wanted to do for long with other DoP,s either.. and got out to operate asap..

.Yeah but the very long takes .. being far from the actual camera .. or stumbling along next to it.. and keeping out of shot ! .. one mistake and the whole thing has to be done all over again .. that takes bolas de acero.. a massive reset for your "mistake" .. the actors and the operator all having to do the those massive scenes again.. I think that pressure is more than the depth of field aspect.. but yes Joker was unbelievable too... its the devils work that only a few people can really excel at ...

Basically it was a nightmare .. sleepless nights and anxious calls to the labs .. it was a FP back in the day for Barry Ackroyd BSC for a few years .. moving up from loader .. almost everything hand held .. 16mm is alot easier but 35mm long lens ! ..sometimes you literally had to go with some gut feeling but like any job you get "better" at it over time ..also it doesn't have to be pin sharp all the time on a move, sometimes looks better not.. but when they stop it has to be sharp.. the only good thing about it was to realize being an operator was by far the easier job.. and move up ASAP ? .. before a nervous breakdown .. I read that Clint Eastwood actually changed a films schedule to get one focus puller he always used .. the most under appreciated person on set basically .. look at a film like 1917.. that focus puller .. he made the whole thing possible.. mind blowing .. balls of steel ..

Is it some thing like the user LUT can only be 1D and yours are 3D LUT,s.. I guess I would try another card as one form of illumination .. can you get access to another C500II and see if the same happens .. are you in custom maybe try EI

Format the card first in the camera .. SD card lock is on ?

Its.. worse .. than .. that ...Jim...

Yes .. sometimes we must toil on the harsh coal face of the visual landscape .. I could have been a contender .. I could have toted that Aaton .. Robin Deakins BSC.. I mean its pretty close right .. I had a light meter at film school .. I had a beret even .. but... then all the kids and divorces .. a bitter and twisted videographer.. tilting at windmills .. pass the Sake ..

Im embracing flaws and imperfections sir.. its the written form of Kintsugi. ... Ive been studying ... with a master .. in the mountains .. around Kyoto...

This is a very accurate portrait sir ..

"Says the guy who shoots TV and industrial films. " Industral films !... no no no..they are very important "Corporate Communications films " galvanizing the workers to move ever higher in their endeavors ..

Correct .. and Tyler san , if you listen to his pod cast with Joel Coen ,and Linus Sandgren FSF ASC..he talks about this very subject, .. he has positive and negative things to say about film and digital .. and most importantly he says, as always .. the camera work always serves the story ,not the other way round ..because thats actually the job of a DoP .. did your "international" ad campaign need to be shot in 16mm , what if that wasn't the look ..what if there was none in your fridge but only beer like a videographer , what if Alexa 65 was a better choice ..or IMAX.. how come every director you work with is always happy with 16mm ... something's not adding up.. something is fishy here .. I think you are on Kodaks payroll ! , nothing you say can be taken seriously, you have let down all the film fans with your dishonesty . shame on you sir .. .. we cant trust Roger Deakins.. BSC ASC. and now.. Tyler Purcell exposed. .. the greats have feet of clay ..paper gods ! who will the young guns look up to anymore .. videographers will rise to the challenge .. we are no ones puppet .. better to shoot Digital on your feet than Film on your knees .. camera (Digital as its better and cheaper ) dollies through mist and rumble .. a distant bugle sounds .. a back lit red flag enters frame and snaps in the wind ..(thanks Vittorio ).. we reveal the barricades .. young chiseled videographers face the enemy .. too young to be at war .. to have seen things no one should ever have to see.. too proud to bow before the forces of Babylon .. each, an Fx9 clutched to their breast .. crane up .. a city in ruin but there is hope , yes there is hope .. .. fade to black.. silence ...

But who is saying he got paid for this .. I very much doubt it .. he's definitely a fan of the Arri cxamerams and one set of lenses .. thats his preference .. but to infer someone got paid without proof is a bit off I think ..

Ironically in my lowly role of Videographer Ive ended up having to "light " alot of really big movie stars and musicians, during their promotional tours / film releases, in Japan ..all interviews of course .. and wow yes some of them have very detailed requirements , a whole bus load of flunkies giving you monitor grief ..Ive been asked to do really nonsense things , been jabbed in the ribs by a make up lady with a steel comb, when I disagreed with her saige advice .. have been blamed for stars having bags under their eyes ! ..and many times I've moved a light about 3 cm,s back or forth .. or actually just pretended to move it, and all of a sudden "ok now it looks great.. thats so much better".. from the massed lighting experts ,eating all the craft and getting chocolate on the monitors from their fat sticky fingers .. Glen Close was very picky .. holds up here own mirrors , but a nice lady .. but if you ever get offered a Steven Seagal film... just run away as fast as you can .. dont stop and dont look back ..

haha ! nice one .. I knew I should have gone with the Canon Scoopic.

When I filmed Beyonce .. (doc about Destinys Child last concert which was in Tokyo ).. they made me light her badly .. !! totally flat and looked like crap .. after the 20 flunkies around the monitors had all put their 2 cents in and decided it looked great ..

haha yes at least Im consistent .. but what you said is absolutely what I would agree with .. always said so .. as long as it makes money anything will survive .. I have only ever put forward my opinion that unfortunately those days are numbered for film .. my "constant " gripe, is the notion that film is intrinsically a superior format to the point where its the most important ingredient ,it that wild mix that makes a great film.. which of course it isn't .. I mean , I turned down being a guest on Rogers pod cast to avoid the all the down arrows I would get on my posts .. ..