Robin R Probyn

Jan.. you dont have kids do you.. :).. they must obey their parents at all times.. !

Is there no fan control in the menu.. F5/55 has off/auto and off in record settings.. so you can have no fan during takes.. when in a very quite location..

Changing the ISO is not changing the sensitivity of the camera.. to do that you would have to change the sensor ..!

Doesn't matter much if its used for films about robots fighting guys in capes and tights... part XX.. of the pre pre sequel .. re released in vertical 8K..

Its the same as applying gain to an audio signal.. the volume goes up .. and the noise /hiss.. its not changing the actual recording levels.. just amplifying them ..but alot of camera,s these days you can push the ISO(gain) alot and still have an acceptable picture.. 2/3 inch 3CCD camera,s no one would ever want to go above +6 (2 stops) .. +9 for alien landing shots only..

Yes with the fs7 def going to need the ext module and as big as V mount as you can.. yes your right hand on the zoom control will be back farther than normal.. has to be to get balance.. the lesser of evils really.. front heavy will kill you very quickly..! the big problem with using these zooms for doc work that I have found,is the weight.. as Stuart points out... but thats the trade off.. compared to cheap,fly by wire,not wide,T4, light weight zooms.. the only answer I have found is an easy rig.. alot of doc DP,s using Cab,s CN7 have gone this route.. only way to save your back if alot of hand held work.. short shots you dont need it.. but HH intense shoots its a must have.. i

I really not want to give up the Cab 19-90 for the Fs7 kit lens.. thats like giving up a Bentley for a Honda FIT.. because its easier to park.. :)

"Could it be that Alexa footage just looks cleaner, since we're almost always seeing it downsampled? That would be unique, I was led to believe." ​Definitely not unique .. even the lowly Fs7 .. about the price of an Alexa VF cable... down samples from a "full" 4K sensor .. as does the F5/55 As far as i know . ISO is like gain in ENG camera,s... native ISO is 0 db gain.. no amplification of the signal.. high ISO is not part of the exposure.. its just applying electronic amplification to the signal.. and will add noise.. the camera,s noise level will determine how much you can get away with..

haha no.. like Batman and Robin.. but I wear red tights ..

+1.. good point.. the whole VF mount is a very poor design on the Fs7.. very easy to lose the horizon.. almost unbelievably bad design.. .. either Zacuto ,axis mini or Vocus do good alternatives.. and some others out there too..just about anything is better.. and something like the Gratical EYE with it .. you will have as good as set up as Amira or Alexa in the VF department .. Fs7 like the F5/55 will not playback with a monitor LUT for any off speed shots.. if thats a problem get a monitor that has LUT,s built in.. most do now.. not wanting to sound like a broken record..but.. it sounds like an F5 would be a better choice for the 19-90.. PL mount..he contacts for all VF info display.. way better VF.. either LCD or OLED..V mount..and all the TC i/o /BNC ports, without the need of the ext unit of the Fs7.. and external LCD panel,like the Amira..lacking in the Fs7.. for quick menu changes.. and general ease of use under pressure ..

Ok yes sorry I see what you mean.. apologies my mistake sir..

As far as I know,the only base plate/shoulder pad that will get the camera back far enough is the zacuto universal base plate.. the others you cant physically get the body back far enough.. the balance point is basically under the lens mount now.. def get rods and support ..E mount is not really made for these big zooms.. actually a stills mount I believe .. On an F5/55,Im sure the Fs7 is the same.. you could adjust one of the tiny switches at the front of the hand grip (under a rubber flap) to get all lens info in the VF.. with the camera menu setting set for Lens type C..(Cook).. (it could be A I cant remember exactly,only 2 choices anyway).. but it can be done for sure..

Hi Jan.. In this case you are "over exposing" on purpose.. to get a "cleaner" image when corrected in post.. i.e. simply letting more light fall onto your sensor..

The camera manufacturer will give the camera a native ISO.. usually that just means the ISO setting with the best noise to DR ratio.. as judged by their engineers.. I guess 800 ISO is seen to be used alot as its the native ISO for Arri Alexa /Amira.. F55 is 1250 and F5 is 2000.. but like a film stock ,you can decide to set the camera/your light metre .. to what ever you want.. people often over expose a stop or two.. and pull down in post to get a better Signal to noise ratio.. while sacrificing a stop of highlight in the DR..if they dont need it for the scene they are shooting.. I read recently Roger Deakins just leaves it at 800 when he is shooting Alexa.. and he seems to get decent results :)

Your usually running around and shooting too much to do camera logs /report like you would on a narrative production.. especially if your shooting two camera,s.. if your shooting TC time of day.. sometimes an assistant director will keep a rough shooting log just by writing time of day and general description of shots.. no template that I know of.. they just write it in a note book.. Any really details report is done when rushes are logged in post..

Hi Jo Slog2 is recommended for the A7 series.. (where as Slog3.cine is usually the go to for larger Sony cams.. Fs7/F5/55)..google a guy called Alister Chapman.. his site has alot about shooting log on A7,s.. and generally Sony,s cine EI mode../Slog workflow.. alot of good info in one place..

"but applying it to some iPhone footage of my sleeping dog on the couch isn't going to make people think "hey, this looks just like 'Gone With The Wind'!" ​What if the dog farts.. that could sway the masses.. ;) ​Although I think the OP is being a bit optimistic thinking that a LUT will make footage look like Mr Robot or Her.. re Chris,s point.. further down the food chain where I exist.. a 3D Lut is often now "burnt in" the recording.. as a "look", a more nuanced approach than just adjusting the matrix,that was the "old " tv style with ENG camera,s.. a LUT can be made in say Resolve and then input straight to the camera and burnt in.. of course to shoot RAW or Log is better.. but often productions don't have the time ,money or expertise to deal with log.. let alone RAW.. a LUT is a LUT of course.. and it sort of goes against the whole idea of having LUT,s to just record it in.. but this is now something that is being done more and more.. I haven't shot anything in "custom" REC 709 in a couple of years now.. its just a cheap /easy way of getting away from the "standard " look of say a Sony camera.. which wasn't possible a few years back ..

But if we have HDR tv sets the viewer will see a difference .. much more than having a 4K tv.. Rec 2020.. The F55 has this option now.. although any 12-14 stop capable camera should do it.. nearly all camera,s can shoot over REC 709 these days.. the problem is the TV /display..

The big problem is 8bit Log footage.. far from ideal.. and something you wouldn't do on the F5/55.. . slog2 is best for A7/a6300.. if its really dark and/ or not alot of DR ,Log isnt always the best curve to use.. esp in 8 bit recording.. but yes .. over exposure .. without clipping and pulling down will always minimize noise.. Recording Log with the Alexa is a different planet.. you shouldn't get any problems.. this is comparing a Ferrari to a skate board..

Quite a while back.. I was fiming her concerts at the Budokan in Tokyo.. part of the GV,B roll ..was her going to a Sushi place she likes.. filmed quite a few "stars' in sushi restaurants .. its a must do actively when in Tokyo..! always make for a good scene .. except they are all small ! also filmed her with the photographer Nobuyoshi Araki.. on a doc about him.. (her friend had one of his books in her toilet )..and Bjork wanted to be photographed by him.. he had never heard of her of course..!

"and the S16 camera you couldn't hear," ​Cant have been an Arri SR... must be an Aaton :).. I remember the SR sounded like a tractor .. be it a very well made Arnold Richter scope one.. !

ah ok.. well if you wanted to rent one day.. :)..

Macks ... there are quite a few camera,s that have this centre crop function.. the Sony F5/55 always had it.. the Fs7 now does with the latest firmware and the Amira also with the recent up date of a couple months ago.. C300II does only for high speed.. It can be a handy digital zoom too,as long as your shooting HD.. off the 4K sensor..

Blimey 85mm on a crane.. yikes.. ! .. focus pulling is such an art.. and there is only a few people on set ,who really know how hard some shots can be.. and almost no body actually watching the finished footage.. cant say I ever really enjoyed it.. too nerve wracking .. esp in the days before monitors/cine tape etc.. just those leather cased tapes and Sammy,s white plastic DoF calculator ! all power to you sir..

Thought so.. glad it worked out ok.. if you have a fancy crane it will mostly be wide angle .. glad Im not focus pulling anymore.. its easier to operate or be the DP..!!