Robin R Probyn

From what I read.. the whole UK crew gave Lucas a really hard time.. and the actors too.. Young Luke was called a Wanker.. by extra,s !! everyone working on it thought it was a kids movie and would be total flop.. and worst offender with Gil Taylor.. very old school E type jag driving .. grumpy type.. their working relationship totally collapsed .. I believe Haskel Wexler was first asked to shoot the film after American Graffiti ... shame he turned it down.. although it really sounded like a not very happy shoot..

Also weird.. best film.. and best director are often different.. I dont get that..?

He got a gong from the Queen a few years back ! Agree.. if ever there was blazing example of the random way Oscars are decided.. esp for cinematography .. is it he.. but he has won 3 I think ASC awards,a BAFTA.. an some BSC I believe.. Im sure that he knows these are of more value than what the Academy voters decides .. for example .. I haven't even been nominated yet.. idiots..

I use the F5.. but very similar camera and i believe the sensor is the same.. I agree with Stuart.. shoot Slog3/cine.. and over expose 1 stop.. you have 6 stop s over grey anyway.. and usually can afford to lose one stop of high light for the sake of a "cleaner" picture.. you still have 1000 ISO .. its a commercial so presumably there will be a proper grade in resolve etc.. One thing to watch for is.. in Cine EI.. even if you change your ISO.. the camera will always record at 2000 ISO.. i.e. you change your camera to 1000 ISO.. and adjust iris for this setting..(using MLUT in the VF.. I usually use the REC 709 ).. BUT your recording will be at 2000.. and so you have over exposed by 1 stop intentionally .. but unlike Arri most NLE wont read the Sony meta data..and self correct.. only Sony post software will do this.. so make sure you tell your post that you have over exposed intentionally.. otherwise they will just thing you got your exposure wrong ! TBH if you or more importantly your AC have used the Alexa with its side LCD panel and hot buttons.. you might be better off with an F5..(with 4K internal up grade if needed) the Fs7 everything is in the menu so not so easy to change/find in a rush/panic ! F5 also have a PL mount.. Fs7 is E mount .. and F5 is SxS card.. Fs7 is XQD.. better Sony EVF options for F5...Fs7 will shoot UHD but not "true " 17-9 4096-2160 4K.. if you need that.. The Fs7 is a very good camera..Im not knocking it.. but for a commercial I think the F5 might be better.. especially for your AC ..and the rental wouldn't be that much different ..

But no getting away from the physics .. if its all smaller.. maybe even you could get a short gaffer.. you will have to move it all closer to the subject to get the same softness of light.. which effects your wide shot.. and how much the subject can move around.. so its not the same setup..

Hi Dave Sorry just saw this.. even at my level of shooting 4K or more UHD is coming in now.. sometimes just for re framing options /future proofing.. Nice that Arri might be protecting their customers before releasing a new camera.. I guess they didnt get that idea from Sony :)..

Yes great company.. they even send me small parts for free ! .. they sent me by their error an axis mini for the wrong camera.. then said i could just keep it! and they sent the right one .. that was hundreds of dollars !!..they made and emailed me my own custom made video about how to rig some of their gear.. that was a first ! For video camera,s their universal base plate/shoulder pad with gel sacks is really great... amazing customer service ..

Greg Im sure you need a very good monitor ! had a look at the Small HD 7".. also very nice.. Im using mine purely for the dir to have a quick squint at.. as an on board on a zacuto arm.. (which is also very good,as you can keep the mounts on the camera and monitor and just have to slot the arm in and tighten it up..) In my location TV logic is sold through iDX.. which was convenient as I had recently bought some stuff from them directly so got a decent discount :).. and they had a V mount attachment which I might also sometimes use with a wireless set up.. Dave .. BM have come out with a pretty cheap monitor.. called video assist .. or something like that.. thats about $600.. Ive seen it only at a trade show.. but couldn't handle it .. but it looks good .. how they have done it so cheaply I dont know.. but any monitor you buy I would advise you to get it up and running with your own camera and see how it is off axis etc..

Maybe just over budget.. but Ive recently bought a TV logic 580W.. 5.5 inches.. its full HD res and a very nice,well built monitor .. I dont really use alot of the focus,exposure features but them seem to all be in there..scaling etc.. all sorts of power/battery options .. I would be careful going too cheap.. with monitors you often get what you pay for .. and can be a dis economy .. to spent say $600 on something thats useless.. than $1,500 that really good and will last you a few years..

Yes sure.. but alot of stuff has gone over to F5/C300 and now even more Fs7.. I sold my PMW500 as my F5 was the only camera working.. the move for doc,s over to S35 cam,s was much quicker than I thought .. all corp shoots had gone S35 a few years back.. i guess news,reality tv and sports will still be 2/3... I would agree that many dont have to be S35.. and the ENG camera,s would be better suited for many shoots.. but now the s35 look is the thing.. and 4K is begining to creep in.. often because you can re frame from the 4K to HD.. even pans and zooms.. and get a close shot on interviews from the wide.. Also the bigger budget doc,s that would have been F900/PDW800 they want to shoot Log now.. and 10 bit.. for a proper grade.. and often UHD now too.. to future proof them.. (in theory anyway ) So now I have to tote my F5 and CN7 at over 10 kgs.. and run around as before with the much lighter,better balanced PMW500 :).. I think this is giving easy rigs a whole new market .. !

I would agree withTyler.. not really the same family. EX1 and EX3 are definitely of a way lower order than the PDW700/800 disc cam,s.. and alot cheaper.. EX cam,s are only 1/2 inch chip and limited to 35 Mbps.. ( non broadcast level).. I think the EX can be recorded to better spec from the SDI to an external recorder.. PDW 700/800 is a 2/3 inch 3 CCD sensor and although XDCAM .. can record 422 HD 50 Mbps.. a much superior cam to the EX,s.. the 800 was the main workhorse for just about all broadcast TV.. till s35 sensor cams took over

Ok thanks.. lovely frame sir

Dave Do you remember what you used to get that lovely soft light on his face ..

All Rhodes lead to Phil..

ok sorry.. the SR1 and 11 had this pressure VF auto closing affair.. but just about everyone just screwed it down to open all the time.. as you had to put quite a bit of pressure on to open it.. A really easy thing you can do, if you want to have a look around while shooting.. is just put your hand over the VF.. not right in the middle of the aliens landing of course.. but if you want to see whats happening around you without cutting..

Came across this .. pic,s of the models from Blade Runner.. http://oneperfectshotdb.com/news/the-models-and-miniatures-of-ridley-scotts-blade-runner-a-behind-the-scenes-gallery/

Maybe its wishful thinking on their part :).. you could also put in a late invoice ?

We had them on an Angenieux .. I believe most of the 16mm zooms had long and short zoom bars..

Yes well the brief was a muddy road in a forest with trees all around.. and yes I know where moon light comes from.. if there is a enough moon and no clouds.. but that light never looks like "movie" night.. its not backlight the whole time.. not blue.. But my point is that I dont think it has to be "natural" anyway..as in all the pic,s above.. actually I like the low backlit shots.. totally un natural but looks great.. and sets a mood.. which is what lighting is all about ?

Well I dont know.. a scene that would in reality be pretty much,if not pitch black very dark.. any lighting is not really natural.. and its not blue either.. but that is now part of cinema grammar .. and audiences are used to night/moonlight being blue and back lit.... La Nuit Americaine :) I really like The Wolf man look.. although its a totally un natural light source .. being low like that.. but a great moody look.. I read about a DP who was once asked .. where would the light come from in a night scene.. and he said same place as the music .. :) Not to say Dave,s lighting is not good !.. just that I think you can get away with "un natural" lighting at night for a look you are after.. as in the those stills ..

Haven't seen them for a while.. Aaton zoom bars.. dont use the long one.. you,ll be knocking it the whole time.. :)

Do you think that will be problem for Arri in the future,if/when everything goes REC 2020.. 4K.. UHD.. and their camera,s are not "real" 4K.. or they will come out with a true 4K sensor..? I mean I dont think anyone is complaining about the picture so far ! ..

Very nice sir

Ok thanks Dave.. valuable info there..

Hi Stuart ok many thanks for your time.. Ive only shot Log with the Sony F5/55.. which is 10 bit.. and provided your exposure isnt miles off.. the SLog3.cine .. there seems alot of attitude for CC.. you can shoot Log Mpeg 8 bit in these camera,s.. but as everyone says its not recommended ..