Robin R Probyn

Ive never really got into the Swords and Sandals stuff myself.. just love Netflix though.. only recently started up where i live and its a real godsend.. as the local offering are pretty low quality.. I just did a shoot for netflix (even their corps are 4K) .. .. could be the last after my free "advise" as to how they can improve even more i.e. .. put on what I want to see.. :)

Maybe he was playing with the slang needing for "pipe" in French !

Thanks Carl.. I wasn't being serious of course .. last thing I watched was Narco,s.. waiting for season 2 !

""That's right, S-Log is it's own LOG curve, incompatible with every other system and looks nothing like real LOG, which even looks nothing like color negative." Tyler.. what is "real Log" and what does it look like.. .. and what systems is Slog incompatible with.. please share..

Best thing on TV now.. Destination Flavor Scandinavia .. 6 more eps to go.. SBS :) haha

"That's right, S-Log is it's own LOG curve, incompatible with every other system and looks nothing like real LOG, which even looks nothing like color negative." What are you talking about ? what is REAL LOG.. how is SLOG not real LOG..have you even seen it as a plotted curve.. do you know what Arri LOG C looks like.. your really going down the rabbit hole with this stuff now..

Ok now you heard it from someone who really knows what they're talking about.. not just my rantings :).. again.. please read up a bit about digital codec,s before you give duff advise .. over and out..

He has his own Aaton .. thats why .. :)

"You will notice, S-Log is used on cameras that shoot MPEG. Cameras that DON'T shoot MPEG... Arri, RED, Blackmagic, AJA, don't have S-Log because they don't need it. " Now I really wonder if you are not taking the piss and having a good laugh.. I sort of hope so in a way.. Slog is a Sony gamma.. guess what.. thats why its in Sony Camera,s..!! as Ive tried to tell you.. Arri LogC is very much the same as SLog3.. as is the AJA Cineon .. sorry man you really have no clue about Slog.. or LOG at all it seems.. 0

Wrong again.. F5/55 65 all can record RAW. . even the Fs7..

' MPEG based cameras have created a "FAUX" Raw format called S-Log." Thats what he says.. seems pretty plain to me .. Slog is a Faux RAW.. its not.. its LOG ? its wrong info.. When is Sony ever saying Slog is anything but Log.. Is Arri LogC "fake " RAW?

More wrong info from Tyler come on really please study up n this.. you are always giving out dud info man.:).. Slog is NOT RAW. or ever claimed to be .its a log curve..as in S LOG !! in fact Slog3 is almost exactly the same as Arri LogC.. F5/55 can record 16 bit RAW.. It has nothing to do with MPEG.. "Canon C300 puts out images that look more similar to film stock than the S-Log2 image of a FS 700, because the C300's image is not as flat." The canon C300 C Log is a rather compromised Log curve.. due to the 8 bit max of that camera.. its more like a hyper gamma curve from a Sony camera.. Sony Slog is more of a "true" log curve ..has more DR than C Log.. and so when un corrected appears alot more flat,un saturated than the C300 "log" footage

ok thanks.. yes particularly liked the Wildfire spot..

Look great sir.. so apart from the Phantom.. your main camera was an Fs7..? XAVC 4K..?

Sounds like a processing limitation.. it cant out put to both at the same time in Rec mode.. work off the monitor.. ?

Its not ! .. but thats the trade off.. one big expensive zoom.. on all day..never miss a shot..work quickly.. T2.8..parfocal.. blah blah.. or lens changes.. carrying other lenses around .. sometimes VF info.. sometimes not.. change the lens interface.. into the menu..change Mattbox donut..where is it.. in the car.. entrusting loose lenses to the director.. NO !... general stress and frustration.. Get alot of work.. very quick.. nice images.. dir loves you..make money.. buy outrageously expensive easy rig.. or borrow sound recordists wallet as counter weight.. move to North London or Surry and buy a Volvo estate.. Yes 2/3 ENG camera way easier./better... but those days are gone.. its all s35 now.. very few freelance jobbing cameramen haven't made that jump by now..

Totally agree.. my posts have just only been to rebut the statement made that the F5 can not be used for R&G.. (hate that term)..and later as it was dragged in ..the codec,s it provides.It can,it is.. and I based it on my 2years experience of the camera.. rather than a few interviews.. and one particluary nice looking,program that is the epitamy of R&G.. but Tyler is a hard dog to get off the porch .. :)

Here we go again.. I dont have shares in Sony.. or even any great allegiance .. if the C300 wasn't the worst ever ergonomics of any camera ever made.. I would have bought 3 of them.. and probably be able to retire by now :) "Since Sony designs the cameras around shooting with an MPEG format, how do you know what quality you're loosing if your camera doesn't do anything else?" 10 bit XAVC is a very good codec and so is SR 422 444.. same as HDCAM SR tapes ,visually lossless compression, the was the gold standard for a long time..and 16 bit RAW.. these are high end codec,s available in the F5/55.. feature films have been shot with these codec,s.,high end TV drama..Doc,s etc...by thousands of people.. but for you somehow they are totally crap.. sorry but logic can only point to user error on your side..this is not a Camry to a BMW.. its a Porsche to a Ferrari .. What programs are you shooting or editing that are of such a level that those codec,s cant deal with it.. esp SR 444...

Yes Jimmy Jib.. no need to be a "Hot Head" :)

I was referring only that the F5 can be used for run and gun.. thats all.. you claimed it cant be .. I showed it can.. codec,s processors etc besides the point.. that was my only argument with you sir.. or that you should use it.. only that it is a run and gun camera f you want it to be.. so advising quite categorically it cant .. was not good,or well researched advise.. But I do wonder why you have such problems with some of the most widely used codec,s in the world.. so many other people are getting excellent results.. Lets agree to disagree again :) . happy shooting sir

I only ever use 2 of these.. well SR is also good for Green screen..it was in response to the claim of Tyler,s.. .. :).. you cant make this stuff up.. got to love the inter web.. I quote "there is no excuse to have all those features and lack different recording codecs."

"In my world when you say documentary, it's a feature film destined for theaters. So my mind set is always skewed towards that world, which is the Pro Res/Raw world." Ive just been shooting on a doc for theatre release.. 4K .. XAVC.. what are the doc,s you have been shooting for theatrical release.. "In order to get those features, they had to heavily compromise on the design, mostly in the imager/processing department." can you go into a bit more detail re design and imager/processor dept.. "lack different recording codecs. I'd personally rather have a camera that may not fit the physical norm's, but the best codec's and better imager." F5/55 had XDCAM 422/XAVC HD/2K/4K /SR /16 bit RAW 4K 2K.. HFR up to 180/240 with the RAW recorder and with an optional board ProRes and DN X HD .. HOW MANY CODECS DO YOU WANT ! .. ​I,ll leave it at that.. no point to stake you out in the sun.. but really again I have to say.. please know a bit more about what your talking about before you make these sweeping all knowing statements.. as some one new to this forum, might actually believe you and make mistakes in camera choices..

Ok glad to hear it.. High would a bit desperate dark location I guess.. and if your shooting slog probably better to do it in post anyway.. but if your burning in a LUT over the Slog..you need that NR.. which in custom is used by default.. although Sony dont shout that out.. :)

Yeah but if other shows are getting good images which they are. .. even from XDCAM let alone XAVC. Slog. then it must be either your workflow /skill level or the technically proficient or not..levels of the footage your getting.. but if you think C300 is recording XAVC, might need a bit more study in that area .. check out the last of those Bourdain programs.. they look very good..and have won awards for its camera work.. just as the F5 can most definitely be a R&G camera .. XDCAM or XAVC can also definitely produce excellent results .. would you at least admit that your advise to the OP regarding the f5 was not accurate .. based on my use of the camera compared to your own very limited use..?

" Pro Res which by the way does have more dynamic range then XAVC-I." ​Does a codec have more DR than another.. ? doesnt it depend on the camera/lens ,the gamma curve,eg REC 709 or LOG ..and well the scene itself .. what basis do you say Prores is more DR than XAVC.. Ive never read that before..?