Robin R Probyn

But why all the anti CG.. if it enhances the story.. why not.. Richard you used a real bear.. sorry haven't seen your film.. but I would guess the kids you mention were not attacked by the bear.. if that had.. using a real bear most likely wouldn't have been a good as scene as a CG bear( if done well of course).. due to the obvious safety reasons.. Outside of planet Tyler.. there are a wide variety of films made.. some as just a good romp action .. escape from the rainy day type.. and why not.. just entertainment .. not made by idiotic,lazy,stupid moronic people .. for the same dumb arse audience .. quite dangerous thought process going on their really .. And others are more serious subjects.. with alot of dialogue .. maybe only one set .. and dont need CG.. and dont have CG.. whats the gripe .. horses for courses ..

For better or worse there seems to be alot more DP,s who operate.. wether thats because more come from doc backgrounds or Indie films .. smaller camera,s not needed geared heads.. which is a real skill in itself.. from what I see in stills most of the operating DP,s are not on wheels.. I assisted B Ackroyd for many years in his early days in the UK.. and he was very open to letting AC,s operate a B cam.. but he always wanted to be on A camera to go with the flow if there was "a happy accident".. he never once had an operator in my knowledge .. I guess there arguments for both.. but clearly on films like MM.. with alot of specialized gear.. better to let the experts do it.. in the ACS talk.. Seale even says he tried the joy stick and was useless at it.. or many camera,s and the DP needs to be checking each one..

From the ACS talk..where Seale appears in a very relaxed and happy mood.. its discussed that it wasn't an orthodox type shoot.. a huge amount was done on an Edge/Russian arm..with specialist crew and the rest cramped inside the vehicles .. with the C cam that Seale himself sort of used on the sly.. (rather than being demoted to ! ) on a longer zoom Ext .. they had alot of 5D,s and even I saw a go pro on one of the stills.. so it wasn't a typical narrative type shoot.. otherwise Im sure he would have been operating if he wanted to.. it was a full on action film .. and he in charge of it all as DOP.. But there are alot of DP,s who operate on big productions.. Roger Deakins on the Bond film.. Barry Ackroyd on the latest Bourne ..

Yes but the Fs5 is odd in that they are saying its better in Slog.. ??? and in 4K.. well UHD.... rather than the shoot in the dark Slog thing..

Go with the Fs7..for a relatively small amount more its a way better camera.. Cine EI mode and alot more.. the Fs5 4k is also not broadcast spec.. external recorders are always a pain.. and then you dont have the small form factor which is just about the only reason to buy the Fs5 in the first place.. and besides that there seems to be alot of people having trouble with noise,artifacts with the Fs5.. so much that Sony have officially announced they are looking into it.. although others are not seeing these problems.. you might want to hold off on the Fs5 till there is an answer from Sony .. if thats what you go for.. my 2 cents anyway

I dont think this was the point at all.. Tyler never said that Seale wasn't a great DOP.. his point was that Seale had been "demoted " to C cam op..and that the A cam DIT took over all responsibility for A cam.. with Seale having no input whats so ever.. and so should not be nominated for an Oscar for his work on that film.. which is of course totally wrong and based on body language and too much coffee I guess.. :)

Ok thanks Freya .. Rob.. does the F3 have Cine EI mode.. if so .. as with the F5/55 all the paint menu options are greyed out anyway.. to sort of idiot proof it.. :).. although you can burn in a LUT in your recording.. If the F3 is only offering Slog as the curve only.. then just switch off all the detail settings .. never used a blade but in theory I dont think it should make any difference .. except it will be prores HQ and your files will be bigger.. off course shoot a test .. Make sure all your VF display settings are off in SDI out.. or you,ll be recoding them too !

Tyler.. have you seen a film called Walter Mitty..

Sorry I know the F5/55 does .. but does the F3 have SLOG... then you could shoot LOG and that would give you maximum flexibility in post to get the look you want.. provided you have Resolve or some other dedicated post software.. obviously 24/25p probably a beer choice than interlaced or high prog frame rates.. There are some Sony forums.. Im sure if you post on the Sony F5/55 forum people who have had or still have F3,s can give you alot of advice

Yes Im sure thats the case.. but what I find unbelievable .. is that the DIT is being put in total control of the A camera.. in effect openly being the DOP of the film.. while the actual DOP of some repute .. is demoted to C cam operator with no further creative input.. thats what Tyler claimed no..?

Any light with multiple sources like that on a panel design,without diffusion .. will give multiple shadows.. if there were 10 suns you would get 10 shadows on a sunny day.. LED,s to Dino,s.. the same.. Pricey .. but the Arri Locaster has some clever tiny plastic bubble type diffusion in front of the LED panel .. that truly gives one source and even has barn doors to prove it !..

Im pretty sure Chivo will see the error in his ways.. and turn down the next Oscar he will be getting.. anyway what happened to all movies should be shot with BM pocket cam.. :)..

Could be the focus puller calling the labs :) re the guy on the phone in the stills shot

"It's actually worse then that as well. The vast majority of filmmakers just flat-out don't care!" ​I really cant believe this is true.. if they have gone through years of hassle to get a film to the actually been made stage.. they then suddenly dont give a shite.. knock out any old c r a p ..Im sure there are many reasons a film is shot digitally rather than film.. but just not caring about the image .. I doubt that is ever on the list..

Do you have direct links for quotes on this.. sorry but it sounds like a crock of shite to me.. there is absolutely no way an Oscar winning DP is being over ruled by the DIT.. DIT is not making lens decisions over the DP!! .. this just doesn't happen in the real world.. even if he and director had had a massive falling out.. he would be replaced.. or walk..and hardly be giving tutorial video,s about the shoot .. its bollocks... or self effacing modesty on the part of Seale that some hack has totally misunderstood..

"John Seale had very little to do with the cinematography of that film according to himself. The DIT took over principal A camera photography and Seale ran C camera with a long lens for most of the production." ​eh? where did this gem come from.. Im sure he might have been operating C cam.. but there is more to the job of DOP than operating.. Revenge of the DITs.. I hope he/she put their rates up.. :)

Re for broadcast.. as Stuart says .. you just need to have your levels.. e.g. white 100% etc legal for broadcast .. nothing to do with the aesthetics in itself..

C300 log is more of a Log lite gamma.. its very much the same as Sony hyper gamma 7/8.. Canon have done this because of the C300 being only 8 bit max.. and cant really handle a true log gamma.. and so its no where near as desaturated/lacking contrast as Sony Slog of Arri LogC .. and so easier to deal with in post..

As above.. I believe the F3 menu items to turn off.. are Detail,Aperture,and Skin detail.. just turn them off completely.. its still sharp enough !

Lite Panels have various kit packages... that come with Pelican cases on wheels.. not the cheapest lights but well made.. you can fit all the stands etc in the one big case.. mine went on about 10 flights last year and no damage .. get the V mount attachment for batts .. low power consumption from mains .. didn't get hot and very small.. Theres a limit to the area you can light.. but thats down to physic,s.. if you need to light a large area then maybe local rental is better..

Im sure David can answer this better.. but its easy just to try it and see.. if you hold your finger of one hand a couple of inches away from the palm of your other hand.. and move both hands together at the same time keeping the same distance between finger and palm.. towards and away from any light source .. you will see the shadow of your finger,on the palm of your other hand, get soft as you move towards the light,and hard as you move away.. its the laws of physic,s.. So for a very basic set up.. a head and shoulders interview.. if you want a soft key light.. you want to get the biggest size light source .. usually this is easiest done using a diffusion frame in front of the light.. then the diff frame becomes the light source .. not what ever is behind it.. and get it as close as possible to your interviewee.. personally I wouldn't bother using a light meter to judge if you have filled the frame evenly.. .. this is where a book light is good.. if can help you fill the diff frame evenly when you don't have the space to back your source light to evenly fill that diff frame.. but doesn't intrinsically make the light softer.. as the actual source is the same size regardless which way you fill that diff frame.. well thats as I know it anyway.. !

Well basically everyone who is famous now was obviously unknown at some stage .. even having your uncle as a studio exc is not going to get your film made.. its just a lottery .. easy rider.. mad max.. blair witch ..etc were winners.. of course 100,000 films that never made a dime or saw the light of day ..for those that do.. even the biggest grossing pic,s often when you read about them you learn they were turned down for years by all the studio,s.. it took Gone with the Wind a long time to get made.. I dont think studio,s have much idea either.. I guess you either lose your house and your marriage .. and go for it .. or not.. if its a super small budget totally independent film.. but no doubt the same chances of success..as being struck by lighting while being attacked by a shark.. on Santa Monica Blvd ..

Classic case of the camera work over powering the film.. . they could learn a bit from Ken Loach.. in my opinion ..

Alot of the noise of log will go away when corrected in post..when exposed correctly.. but shooting log in the dark in 8 bit is not the best idea.. have a look at this article . http://www.xdcam-user.com/2016/01/log-is-a-poor-choice-for-low-light/

Slog3 will show up more noise in the shadows because its a high DR log curve ..compared to standard gamma,s.. it will go away when graded .. if there was at least enough light for Slog to get a decent exposure.. ! Not advisable use Log when its really dark anyway..