Robin R Probyn

I believe it was no play back in the camera.. SDI/HDMI might be ok..although you would think the same.. but that certainly was something that Paul Ream also mentioned.. and some people reported these gamma shifts but not everyone.. and it voided the warranty .. The main problem was you were stuck in a now very old version 4.. with all the advancements since.. andV8 around the corner.. and the official $1K 4K upgrade made available.. you were losing more the $1K upgrade price, being stuck in the older firmware.. Im quite surprised there are any "hacked" camera,s around still.. Are you sure it wasn't upgraded officially rather than the hack..?

Where as Slog is a very good gamma curve... never come up an S. LUT.. this will get you into trouble..

Yes they should know that.. its pretty straight forward.. one currency between alot of countries.. from Germany to Greece .. very different goals and needs.. will never work.. Im by no means the first person to know that.. but please use my name if you want.. you will always get a table at the best restaurants in London .. :).. So far Mick Jagger is the best thing to come out LSE..

Michael.. Relax man.. its a line from Monty Python.. please google its very funny.. it ia actually the opposite of what you think.. it then lists all the great things that the Romans did actually do in England .. But it is true that the Euro has no central bank.. in the way the UK ,Australia,Japan or USA has.. which has prevented them from printing money.. this is good thing not bad ..

What did the Romans ever do for us..

Hang on.. that post was way back.. that was about Sony camera,s..the never ending story..but I really did want to know how a whole film.. as you first stated was under exposed 3 stops.. and even more so that it was actually just green screen..material that was under.. if I knew the DP I would certainly be asking if that was the intent and why.. I dont know why your just cutting and pasting one line from days ago.. that was a totally different subject.. about codec.. and the Sony cameras,.. which we have gone over alot of times.. thats why I was bailing on that road.. without any malice at all.. its a line from hitch hikers guid to the galaxy ..

What do you call a North American without a gun and health care.. A Canadian .. EU problem is they don't have one central bank .. so its harder for them to just print money like all the other G20 countries.. death sentence for the Euro... they cant devalue it fast enough..

Yes but maybe limitations of the C300 design.. no room for LCD screen ...quick access button design.. (which Sony lifted from Arri) let alone hanging a RAW recorder off the back.. dials all on the back of the C300,s.. Stills camera designers in the first place.. they probably wanted to put the VF on the top so you had to look down on it on the original C300 design.. Interestingly I see that the card slots are on the dumb side of the camera.. Something that Arri cleverly changed for the Amira for the doc/corp market.. implying the C700 is not directed for this market at all.. no one is wanting to have cards on the dumb side unless you have an assistant to deal with them.. then they are up against Alexa/RED.. open gate/6K .. etc.. they are way too late for that boat .. I wonder how this camera will sell.. I predict a big price reduction..

"I think it was a "package" deal, cinematographer comes with equipment. That's the way this particular director tends to work." Even less likely to be a LUT screw up then.. that would have to be a pretty severe off set LUT.. the DP would be able to tell straight away just from the stop he was on.. being their own gear.. I would throw out the LUT as possible cause..

In the UK its $38,000 for the GS model.. and not much less for the other.. body only.. £29,000 /£27,000... EVF is $7,000 in the UK £5,245.. (priority plug) thats close to the price of the Fs7 just for the VF..( of course you could get a Zacuto one).. you can also get a F55 for $29,000 (US price) Seems not enough a little too late.. and over priced, to me personally.. at these prices I think people will go for an Amira/F55.. or a little more for an Alexa mini.. cropping the sensor for anything over 60fps is odd..even an F5 gives you the choice up to 180fps.. It doesn't support 2x Anamorphic.. which seems short sighted as its being pushed for that market too.. and even now it looks like a 1980,s small portable cassette player to me.. its just not sexy.. Not really a good week for Canon.. the 5D Mk4 has been laughed out of the room.. now this hugely over priced falling between two chairs beast.. but they do have a great color science.. but not sure its worth $45,000 (UK).. before you even have a cheese plate or shoulder rig..hopefully the handle and mic bracket are included.. I think they should have totally scrapped the C300I and II...and made a sort of F5/Fs7 version of this camera.. which at least resembles a camera.. and a F55/Amira version.. and if they want ,an open gate,all bells and whistles version.. And yes any Canon top brass reading this.. Im available for consultation work.. :).. corner office and driver..

Im not saying its a screw up.. a screw up would be a couple of shots or one morning after a long night.. a whole film with rushes/dit/monitor etc is Im sure as you say intentional.. and as he's a well known guy.. and not one of the useless ones.. there must have been a reason.. because RAW usually you would over expose if anything .. I would be curious.. maybe you could ask him and relay the info..

whats the DP,s name... I would be quite interested to know about the 3 stop intentional under exposure.. in RAW .. . at least not one of the ones who doesn't know what they are doing,as it was intentional.. I think alot of the forum might be interested in his technique ..?.. Well they were lucky you could save it.. good to see a screen grab.. you must have all the metadata on the clips right.. David.. if you have time.. the up grade.. although it does cost about $1K.. is simply an electronic key.. nothing has to go into the shop .. the camera was always capable of 4K from the start.. slap on wrist for Sony saying it wasn't ..

You used the word unfathomable first not me.. what did you mean by it then.. you were referring to ,yet again all the DP,s who didn't know what were doing.. I used it after you.. in irony obviously not detected .. nothing to do with being bad at words or language.. now your really clutching at straws.. yes I would assume its impossible that every DP you work with is crap an doesn't know what they are doing.. this is what you wont answer .. why is that.. there are only two options.. either they all do know what they are doing and you don't.. or you do know what you are doing and you are exclusively working on the very very lowest rung of productions where every DP is totally clueless just taken off the street.. Im just wanting an answer to my question.. if you say all the DP,s you work with are crap.. Inquiring minds want to know why.. because TBH I really wonder what it is you do know that they all don't.. because the evidence thus far seems to point the other way.. eg High dynamic range codec.. yeah what does that mean.. have you ever actually shot LOG in your life.. no you haven't have you.. maybe a bit of introspection before dissing everyone else..

And again.. Robin R Probyn, on 01 Sept 2016 - 4:26 PM, said: Dude, I shot and serviced Sony for over a decade. I can say anything I want about them. Theres more irony here than the best Shakespeare could ever hope to achieve.. 0

You have complained that your own footage has been bad.. you mentioned blown out highlights because of the camera and codec.. You don't judge people like that.. this is a quote from you in another thread "I think it's unfathomable that all the cinematographers, guys who have shot for 30+ years, don't know what they're doing." Now this cant be read any other way.. ALL the cameraman.. Shot for 30 plus years.. don't know what they are doing.. YOU wrote this man.. I,d say this is sweeping and judgmental.. then you just flat out deny it..and say you wouldn't say that..?? And what about all the Sony camera,s accessories being priority .. you seem to have dropped that line too.. 'the look the client is seeking in post which may not match what was on set, you have to determine where the problem lies." .. or the colorist knows what they are doing.. and the client doesn't get pissed off with the colorist blaming all the DP,s.. camera.. codec.. level of air conditioning.. monitor.. the seats arnt comfortable.. and there,s a dog with 3 legs down the road..

at last.. no more kettle cam !.. I never knew my influence at Canon was so great.. seems it has a RAW recorder that will clip on the back same as the F5/55 design.. there is more info ( a video) on the B&H site .. would hate to have just bought the C300 II though..

"Lets say your signal to noise ratio is 50db. When you record a LOG curve, it requires translating that curve during coloring, which means raising the highlights and lowering the mids and blacks. Since you've baked in particular noise level, you're increasing the noise when you do this coloring work. I'm not talking imager noise, but "codec" noise." Yes thats why you want to over expose your log if anything.. but you have already told us you under expose it.. and yet you also say you set your ISO to the very lowest you can every time.. this would actually mean in EI that you would be over exposing .. again I would say you dont know about LOG.. codec noise..? SN is inherent in a camera,s sensor.. refusing to learn ? "It's only hogwash because people like you, refuse to learn." eh ? refuse to learn what.. my rushes are fine.. please answer the question.. why is it your rushes are crap.. and that all ! the DP,s you work with.. even those with 30 years experience all don't know what they doing .. this is quite rude and frankly laughable.. as a fellow cameraman I would be very pissed off if some jack of all trades was dissing my rushes.. I would advise you to stop doing that.. "I said it's unfathomable that the myriad of cinematographers I've cut and colored, are bad cinematographers." ​Yes exactly what Im questioning you about.. why is that..either you are working on the very lowest rung on the ladder.. which is also unfathomable given your high skills in..well everything it seems .. and that you work in high end post houses and have been a major player in big studio productions.. something doesn't add up?

"hell is other people" John Paul Sartre "Empty vessels make the most noise and some people are *ankers" The Bard..

Whats going on on this forum this days.. pocket camera weekend warriors are telling us Oscar winning DP,s are crap and don't know what they doing ..now students tell us Sorkin is some has been with nothing to say that anyone could learn from.. Jesus.. pass the gin Vicar.. As Aretha Franklin has said.. Respect.. just a little bit..

Im not defending my purchase..its the cheapest camera Ive ever bought.. Im far more worried about my lens.. if Canon had made the C300 II actually look a camera.. I would be probably bought it.. Im saying if people are coming to this forum for advise.. which seems to be the main purpose.. they are being very short changed by Tylers pontifications on all sorts of things.. its a dis service to people genuinely seeking advise.. thats why I feel I have to make a call on it.. this could effect peoples productions and projects.. thats a serious business for them.. I,ll leave it at that..

Im not so tight with Sony.. Ive had parsonic camera too.. in fact I thought they looked better in the pre LOG days.. Im just saying that there is a ton of very good XAVC footage out there.. XDCAM too for that matter.. and that it seem apparent that Tyler is not getting the best from the camera due to lack of knowledge of LOG gamma.. and that Tyler just rights them off hands down is just bad advise to others on the forum who are asking about them/Sony codec,s. Thats all.. Statement like this.. is sorry but total hog wash.. maybe its you Tyler who doesnt know what they are doing.. always an outside chance no..? "I think it's unfathomable that all the cinematographers, guys who have shot for 30+ years, don't know what they're doing. This is why I tend to blame the camera, especially since it's almost ALWAYS Sony cameras that are the problem. Since I'm an editor and colorist for hire, I've worked with a lot of cameras." ​If everything you have worked on has crap DP,s.. I think it talks of the productions you work on.. not that 90% of DP,s are crap and that Sony camera,s are too.. maybe if you worked on Cafe Society you could give Vittorio a telling off for crap rushes.. :)

ISO means nothing.. ISO 2000 in an F5 is 0db.. alot of misunderstanding here.. On an Arri 800 is 0 db.. ISO is just a number to set your light meter to.. or to use in Cine EI mode.. Anyway to avoid the flogging of the dead horse .. again I would ask.. how is it so many people can get great results from XAVC even on a Fs7..in custom let alone LOG.. there really are thousands of them.. but then there is you and every DP you work with getting crap results.. its purely empirical logic that you guys are the ones doing something wrong.. So long and thanks for all the fish..

As I just said in another thread.. how is it there are thousands of other DP,s getting great results from XAVC.. check on line.. doc,s music video,s TV drama.. features.. but somehow you and for some unfathomable reason.. very DP,s footage you receive .. is totally crap and un useable.. sort of a common thread here.. either everyone else is lucky or you and the people you work with have not very high skill levels with these particular camera,s.. BTW XAVC was not around in the optical XDCAM.s.. XDCAM is not a codec.. Im not you got that..

I know a guy who has serviced Merc,s for a decade.. but hes not a better driver than Lewis Hamilton .. If you know what your doing with XAVC LOG or RAW.. which sorry but judging from your exposure methods you don't.. you can achieve a very good picture from XAVC in HD or 4K.. and there are hundreds or more like thousands who are going that.. one of them is my good self.. just go on line and see what has been shot with XAVC.. dont believe a hack like me fair enough .. but there are very experienced DP,s who have shot incredible footage on XAVC even on Fs7,s.. exactly the same camera you had.. are they all crap.. or could it be that... ? And the 3rd part accessories ?

Your avoiding the point of the discussion .. XAVC is not long GOP.. its intra and very new and good codec universally adopted by all grading and NLE software .. even FCP6 !! it seems you were un aware that is was in the camera.. you could have shot true 17-9 (unlike an Alexa :) 4K to XAVC in Slog3.cine and had an image right up good enough for theatrical release..and you would have to know how LOG works.. next time you use a Sony camera please read up about it bit .. or your not serving your dir very well.. BTW..Pro res is also a very old codec..