Robin R Probyn

Slog3/Slog2 are gamma curves.. these are capture,record gamma,s ... they are not designed for display..have a look at it.. very desaturated you could never just put that out for viewing as it is.. a LUT is applied to these capture gamma,s to re map the values to display gamma curves.. the standard for TV is REC 709.. the rec actually stands for recommended so its not an absolute standard.So a REC709 LUT is often applied for viewing purposes as ultimately something very close to that will be out put at the end.. but a LUT can also be made in say Resolve and this can be applied too.. but most camera,s have a REC709 LUT already pre installed..so thats the easy option.. So the LUT can be applied in the grading stage.. and also very often as a monitor LUT during actual shooting.. to the camera VF and ext monitors for the director/make up/art dept/clients etc to see an image very close the intended final image.. not the SLOG image.. there are also 1D LUTs and 3D LUTs.. others on this forum can explain the difference much better than I can..

Macks.. TBH I think you need to be able to afford a "real" card reader.. and cards..down loading off the camera is a total non starter .. it really becomes diminishing returns going cheap .. if your talking about professional work.. you really need the right gear or things will go pear shaped pretty fast..

I think the big advantage of the SxS cards is the restore media function.. thats what you are paying for compared to SD cards.. dont know if the XQD has the same internal controller as SxS.. personally I want to keep anything that can go wrong to a minimum .. and one of the ways is to not scrimp on the cards unless you really cant afford them.. I just dont want the added worry of cheaper cards in an adaptor.. lose a long file in an interview and the poop will stick to your name..

wow surprised they got away with that.. looks pretty dangerous .. !

No Ive been there a few times actually..even had to bail out the chutes of a burning DC10 in Lusaka..! I forgot your from SA..! Over the years since I was an assistant on film Ive seen a steady deterioration of working conditions . to the point where gear/time is expected to be free !! try asking an tradesman that you will only pay for the tools they use.. or they must use yours ! .. there was great video going around showing what we are asked to do .. set in other industries.. and you see how totally out of control its gotten.. its really a great if not scary watch ..!

Sure.. I was just surprised it was the norm.. I wouldn't really class it as nickel and dimming though..I charge a healthy rate too.. but there is a principle at stake .. like a travel day,down days are part of the production schedule .. if its long shoot you need time off anyway,if not ,its for a reason that suits the production ,and if away from home base.. you should be paid for your time.. I must be old I remember when there no travel days,or down days free.. you were employed from X day to Y day.. simple.. if the shoot is in Africa.. then you have to travel there.. if its raining and you cant shoot.. or the elephants dont arrive for 3 days.. or everyone just needs a say off.. you just got paid.. :)

Mind your back Vittorio .. !

Love the Rembrandt lighting sir.. what were you using .. lighting wise..

Depends exactly what your expected to do as a camera assistant for work experience .. but from my memory way back ! .. you have to be very organized basically .. know where everything is.. try to think ahead for the next set up.. get stuff ready so its right there at hand .. if its cold get the camera dept some tea or coffee.. raid catering and have some snacks to hand out.. you,ll be loved for that.. have a thick skin ... someone might bark at you under stress.. don't take it personally ..they,ll apologies later.. Sort like a butler for the camera gear/camera crew.. :).. have fun ..

Down days are unpaid even if you are away from home.. I charge a half day if Im not shooting from home as base.. I thought that was normal.. ?

I dont know about the Dragon but for the Fs7 Im pretty sure its like the F5/55, in that over 66Fps you are not reading off a 4K sensor.. the camera cant get the data off the sensor quick enough at that FPS.. there is then options ,full scan..the 4K sensor but pixel binning..(not line skipping though).. or Center crop.. the camera will read off a roughly s16 size .. centre crop of the sensor.. Advantage of CC no pixel binning,and the OLPF will work as its still corresponding to a 4K sensor.. just reading the centre only.. disadvantage you will have a crop factor on your lenses FOV.. 1.8 I think it is.. Disadvantage of full scan.. be careful of fixed pattern noise.. you now have a 4K OLPF on a 2K sensor.. (the F5/55 you can physically change the OLPF to a 2K one.. but the Fs7 you cant) Advantage .. your lens FOV will stay the same.. Can you shoot outside? then your lighting problems will be alot less.. If your shooting Slog with the Fs7.. the camera will only record at ISO 2000.. regardless of any other settings.. (unless you burn in a LUT over the Slog,which is of course then no longer Slog)...

Panaplank was used on all John Carpenter films .. for added grain.. I saw it in American Cinematographer ..

Yes always charge for a travel day.. the mere concept is fairly recent.. and doesn't really bare up to any logical business premise .. as you say.. its your time that you could be shooting for someone else.. at least 50% your day rate.. if they wont pay it these are not people you want to work for anyway..

But film can also look incredibly sharp too.. as clinical as anything shot on Alex/F55/RED or any other the other high end digital camera,s.. Im not sure this is a difference between the two.. ?

Im pretty sure he uses Panaplank sometimes in conjunction with Arri Rawdust

is this a windup.. or just bolex :)

Thanks Phil.. good review.. I wouldn't be moaning about the 18mm.. the CN7 is only 17mm.. I think that could laid at the door of the fujinon 20-120 though.. T4.4 is not great for anyone doing alot of interviews with the need for SDF .. and TBH it seems pretty much this whole blanket move to s35mm sensors for everything.. except news /sports/daytime TV is 99% based on the "cinema" look.. i.e. SDF..esp for any interviews.. and it does look nicer than the average 2/3 sensor camera I think.. I,ve loved the move from 2/3 to s35mm sensor camera work.. but just having the light sealed (or not so light sealed F5/55 !) box doesn't do it.. need the lens too..! I did the B4 adapter thing in the early days too..as i had a very pricy fujinon zoom... not great at all.. and most shoots I couldn't turn up with that set up anyway.. But yes interesting if there could be even more of a Cine dept rather than stills dept zoom for the $10,000 mark.. I think thats in the budget of alot of F5/FS7/C300 Mk1 owners.. and would really sell alot .. this canon is not quite there.. I think they have made a mistake.. a lens for $10K with direct focus.. no auto rubbish.. 18-100.. no more than T3.5.. that would sell like the Fs7 has camera wise.. who ever makes the Fs7 of s35mm zooms will clean up..

Yes I think your right there.. Its not really the cheap CN7/Cabrio that is the holy grail .. but to my limited knowledge of optic,s ..there would have to be some major new technological break though to achieve at that cost.. but anyone thinking to buy a 19-90 Cabrio might have pause to consider the 20-120 T3.5.. at about half the price of a new Cab.. leaving alot of change to buy alot of other toys ! Oh right ! good I,ll have a read !

actually how was being a "dick" anyway.. I don't see anything offensive in that post.. I wonder if have mis interpreted something ? again..

Silk Worms, virgins.. and a pint of Gin in a dirty glass.. always works for me Satsuki Sama

Yes agree.. the t4.4 would be the killer for my me too.. Im pretty sure its a fly by wire type set up too.. of course you get what you pay for and for many people it will be ideal..and amazing price.. but never be competition for the CN7.. the fuji 20-120 is probably as cheap as a "real" cinema zoom can get.. the price compromise here being 20 at the wide.. but considering their much more expensive Cabrio is 19-90.. I wonder if it might be too good a deal :).. I wouldn't want to be selling Cabrio 19-90,s at the moment..

I m not so sure.. that lens doesn't really have any competition at that price.. but will it takes sales from CN7 or Cabrio .. I doubt it.. anyone who can afford those lenses will not be buying this canon lens instead,quite a few compromises to get it to that price level .. but the $18,200 new Fujinon 20-120 .. I think that could well take away a few CN7 and their own 19-90 zoom buyers away..

eh..that was witty British irony sir.. I just read a post from you advising someone else to lighten up.. :) I would strongly say its the operators not the tools.. Roger Deakins digital photography as a good example..

Its a good start.. but one will have to be shared throughout the entire UK film industry .. I dont see the point really..

I also use silkworms reared by virgins.. imported from Tibet..