Robin R Probyn

I believe thats why ..

There is very little being shot interlaced these days even for the lowest rank of broadcast program,or corporate shoot for mainly web viewing .. only sports and news really.. and programs that need a "live" look.. famously one of the MTV awards was shot progressive for a "film" look.. and there were thousands of complaints from viewers .. saying it didnt look live and basically hating the look of it.. its all audience association of what "looks" like video.. or what looks like movies,music shoots,commercials .. seen in cinema,s or streamed off the inter web .. progressive 24/25, non burning out clouds, a decent grade..a dolly move here and there.. and SDF .. boom.. 99% of the world will call that film like .. i.e. doesnt look like sports,news,MTV awards or day time chat shows.. Apart from 5 guys on this forum.. no one cares.. . if Roger Deakins shoots in 70mm and the film is crap.. or Robert Richardson :) its still crap even with over priced stale popcorn and a noisy projector.. if it looks good and serves the story it matters not film or digital.. all this nashing of teeth would be better spent worrying about decent scripts and the emergence of 10 part sequel /pre sequel who knows what .. lets sell lots of toys ..tent poles movies.. When the few big name directors who can insist on film , have retired to their ranches and county estates.. its a 100% certainty that film will die out.. everyone knew that good editing could only be done on a Steenbeck.. it was hands on..you could wear white cloves.. it had a life and purpose... it made a lovely noise..it was.... ORGANIC.. yes it truly was.. and where are they now.. there are no true edits anymore..as we all worried about dolphins.. the Steenbeck slipped under the waves.. with nary a tear from the film world..

Does sort of look light lighting, made difficult to me TBH..

Ari.. are you being ironical..

Hi Gabe I think in a nut shell there are just a few points for the "cinematic" look.. 1 Shoot progressive .. in theory this is 24p(like film camera,s) but in PAL land we shoot 25p and it looks the same of course.. with 180 degree shutter.. eg 24p- 1/48th.. 25p - 1/50th.. nothing makes video look more like video than shooting interlaced.. the whole world associates this look with video.. 2 Video look is associated with a large depth of field.. get the biggest sensor camera you can.. then your lens will be longer focal length for comparable FOV than smaller sensors.. once again the viewing public,and tv producers! associate a shallow depth of field with film,because thats where they see it..in movies and high end commercials .. TV everything is in focus.. 3 Colour space.. if you can shoot LOG and have the proper post grading tools you can get away from REC709 colour space.. the dreaded Sony look will be a thing of the past .. and a much larger DR in your captured footage anyway.. it will have to get pulled back into 709 for TV .. or burn in a LUT over the log if you dont have the full log grading set up.. This is for TV work anyway.. if your shooting for theatrical release I doubt you be using either of those camera,s.. progressive not interlaced,biggest sensor easier to get shallow depth of field.. (this is probably the biggest "cinema" look aspect ..) .. and try to shoot a gamma with a high DR.. and grade in post.. but you want to be recording 10 bit to make that worth while.. my 2 cents anyway.. This is the basic stuff.. without huge lighting rigs,jibs, dolly,Russian arms.. "film" composition Im sure you know .. you still see alot of interviews with the head framed in the middle.. (when its not a "look" ) .. etc where i live..

Yes but better to start off at least 4K capture.. as you will lose about 20% resolution when debayered.. so the F65 ..6K sensor actually becomes more like a "real" 4K res.. if you shoot 2K you,ll have less than HD.. with a CMOS debayer sensor anyway.. maybe one reason everyone likes the F35.. Personally I agree the 4K for tv thing is about shifting TV,s off the shelves ..although camera,s that down sample off a 4K sensor to HD on the fly can have advantages .. or shooting 4K for HD you can crop,stabilize, pan,zoom the 4K frame ..

Here is a very handy visual comparison chart from Abel Cine http://blog.abelcine.com/wp-content/uploads/2013/04/35mm_DigitalSensors_13.pdf

I push them off the road.. :)

Can she borrow your C stands.. they are Mathew,s right ... PS It was all rented stuff.. those stands wouldn't even come close to fitting into my Bentley ..

Alot of them will make some sort of difference .. or at least give you time to get out the way /grab your expensive talent with good lawyer out the way.. when that moment of flight becomes apparent .. :).. adding the sound recordist,s wallet would be another option.. although this could damage the stand .. By heavy stands I mean those monster Mathew,s ones on wheels.. that takes at least 2 two people to get out of the van.. !.. but yes theres a limit for sure.. too windy.. dont use them..

Re the large butterfly screens.. you will need two heavy duty stands and sand bags.. and a big grip to help wrangle these things.. ! any sort of wind and they are pretty dangerous.. sharp edges !

Neither of your lights are going to do alot against day light ambient I think.. esp the mini panel light.. unless they are in very close.. others will know alot more than me.. but I really doubt these lights will give you alot of "punch".. if you could get at least a 575 ? If its sunny a largish butterfly frames would be handy to diffuse the sun light..I know there is sunshine sometimes in the UK..! if thats the effect you want.. other than that.. put your rate up :)

Thats Absurd ..

Hiroshima is one of my favorite cities here.. yes please let me know if your Tokyo bound sir.. San fran has a pretty strong Japanese link doesnt it..

Hi Satsuki.. Yes but Im based in Tokyo.. although often down in Osaka area.. yes they do have alot of their own words in Kansai.. instead of the usual "genki desk ka" are you healthy.. they say "Mo karimakka" meaning hows your business/are you making money. tend to be much more direct than Tokyo speak.. ! Yes if your ever in Tokyo let me know and hopefully meet up sir..

Not in Osaka/Kansai area.. Boke is often used instead of Baka.. and Boke is also used to describe dementia .. and someone who is forgetful/ not that bright..

Just as an aside..or if you are talking to a bunch of Japanese from the Osaka area.. Boke can also be used as an insult.. to mean someone is stupid !..

Was it the older 400 Diva models had silver.. mine has.. but a newer model Diva I used had black and seemed a much sturdier build.. ? and different honey comb design.. maybe better at the job of directing the light a bit..

I keep them on to protect the bulbs when transporting.. .. then take them off when using !.. but pretty much always put them through a diff frame anyway..

America and Eritrea are the only two countries that tax their citizens where ever they live on earth.. not sure I would rush to become one ..

Thanks Phil.. I,ll check it out.. loved the office of course..

Dont go near Craig's list.. this will brand you as a bottom feeder.. career suicide !.. there is Mandy.com in the UK and Crews Control in the US.. you could list your self on mandy and apply to be a listed crew with Crews Control..majority of their work is corp,s.. the BBC also have an "approved" crew list world wide . if you have worked for them already I would get on that list too.. Apart from that.. it will just take time.. for your name to get around.. producers will always ask around their own friends contacts before going to crewing agencies.. but every new shoot for an out of town dir/producer will be another contact..

Tyler.. your mixing up Log and Slog.. Slog is a Sony gamma.. thats why its only in Sony camera,s..this is not a big surprise ..its recording are totally compatible with all NLE.. although still you have yet to actually explain what you meant by that comment .. its not in the c300.. neither is XAVC,again a Sony codec.. as you posted earlier.. You mix up dynamic range of a sensor.. with gamma curves.. and gamma curves with codec,s.. Slog or any log has nothing to do with MPEG compression..I mentioned this vey early on in this thread.. and you mix up 8 bit and 10 bit.. for the record Log C and Slog 3 are both 14 stop DR.. Can you explain what you mean by Slog being .."incompatible with every other system.".and "looks nothing like real Log".. don't go into any other rabbit holes as you usually do .. just explain point blank these two comments you made.. inquiring minds want to know..

Yash To add.. apart from sending a reel.. not a bad idea if you already have a contact with a particular company..I would invest in a very good website.. a bad one is of course counter productive as your selling your visual acumen .. and put you CV,some info about yourself and showreel on the site.. you can then update both easily .. and importantly a contact page.. Depends on what type of work your after.. I don't think you are ever going to get work as an operator,focus puller or even loader .. on big budget productions from a showreel or website.. unless you already have a very good CV and have worked on similar productions in the past..no one will take the risk.. if its TV or lower budget.. where the production can save money by using a local hire.. and you can show from your website and CV that you are up to the job.. Im sure you will.. owning your own gear will also help.. the production wont need to pay excess baggage /carnet etc.. "production saving money" is the big motivator :) verses risk of someone they dont know..

Horrible memories of 1st year French from school..! .. pipe in French slang is a B J.. most likely not what Magritte had in mind.. Worst thing about French.. the male Un and the female Une.. the pipe you smoke is feminine ? and the most intimate women's part is masculine . .. very odd..