Robin R Probyn

Well yes RAW is off the sensor.. with no processing.. or well very little.. seems some have a curve applied, but I wouldn't say WB is baked in with say SLog3.. its almost monochrome .. and plenty of room for WB manipulation .. Yes I wouldn't shoot log in 8 bit.. almost defeating the object of shooting wide DR.. :) I think if your grading as you say.. its better to shoot 10 bit Log and do it in post.. you will have far more control and can change it around till you get what you want..

Sorry meant Log C.. not the canon 8 bit C log

In London they have the BBC... The broken biscuit company ..

Stuart I have a question.. if you are shooting S Log or C Log.. or RAW.. do you mean you bake in the look as Metadata.. or you are actually recording it baked in as you shoot.. if so does that not restrict grading/colouring in post.. Thanks

ah sounds like a classic example .. must have been annoying.. yet the op would be thinking he was doing his job to catch the possible flare and avoid it!!.. the old joke .. whats the difference between high light and flare .. $5,000 a day.. :) Anyway not a problem I have to deal with..Im always doing my own operating .. but have just bought a very nice little TV logic 5.5 inch monitor for dolly shots or low angle..

I guess its just the way it is.. if you know a particular city very well.. it will be something that your going to notice.. and it will always register how ever good the film is.. but its only a tiny fraction of the hoped for global audience I guess ! .. Lost in Translation had a few very odd location cuts too.. literally running around corners into a completely different part of Tokyo.. not even driving or trains .. but only Tokyoites would notice.. well actually its so huge.. only those that knew those locations..!

Maybe it also depends on the style of the shoot too.. I read one of the DP,s who operates said.. he wanted to operate incase there was some happy accident .. that he would be able to go with the flow.. of course a good operator would do that too I guess..but then it would be someone else's idea of going with the action.. but that was his reason anyway.. also one of the DP,s who comes from a doc background.. Obviously there are arguments for both styles.. if you can always have "your guy" who you know is on your wave length then its not a problem.. and better to be watching the nice monitor..

Do you think there is a trend for more DP,s doing their own operating .. Im not in the features world.. but if i was i think I would like to operate myself.. but I can see the advantages of having a good operator and using my time/anxiety ! on other things..

Yes thanks for posting.. interesting ..

I think there is sometimes a theory.. that if the framing is not visually pleasant and or jarring .. you,ll remember the show .. I hate to be a luddite,but good story,acting,directing,lighting etc.. you don't need the ,look at me, film school framing.. the camera work should never standout more than the acting/script.. IMHO..

If I remember the SR has a screw down mechanism for the self closing eye piece.. i.e. fully screwed down it will always be open.. unscrew and it will close when no pressure from your eye/head..

trouble is you cant re think capitalism.. by definition its the maximizing of profits .. this comes from labour.. no other way it works.. we run around for the biggest crumbs from their table..

Of course its all relative .. a guy busking in the streets of London might be considered rich by a farm worker in Bangladesh .. Im talking about the big picture.. its divisive,Fox media type move to be thinking of the middle class as rich.. the real rich are those with more money than they could ever even spend in a life time.. the people making $50,000 in a morning.. making nothing,inventing nothing.. e.g. bankers getting free money printed by politicians .. stealing ordinary peoples savings.. Sorry dont want to go into some boring political rant.. but rich is not "middle class" .. its like a bucket to a swimming pool.. to the real ruling class.. Over and out

No honey wagons and yes you,ll smell something thats for sure..

I think this is pissing in the wind really.. the middle class are not rich.. the real imbalance of wealth is not if you have a pool and 2 cars..and in debt to your eyeballs.. the rich are people that have hundreds or thousands of millions .. this is the imbalance not between $50,000 and $150,000.. these people are still slaves to the banks.. the others own the banks..

Thats called sexual harassment .. you should have reported it..

I think you have a point.. and its always used to attack unions.. as many have become corrupt and become an exclusive club,rather than a union.. and union leaders have been bought off by owners.. it used to be called Duchessing .. i.e. the union leaders behaving as the bosses.. and come under the control of gangsters.. Teamsters of the 70,s etc.. in Japan they have a very clever system to get around it.. by each company having their own union .. chiefs appointed by management !! rather than as an industry.. So anti unionists can very easily pick up these types of weakness .. You can see that in Haskel Wexlers move to impose the 10 hr turn around .. with the response or lack there of from his own union .. !!! But you dont have to be that bright to see what has happened and what will happen without a trade union.. yes re the industrial revolution .. you joined a union.. not even strike.. you got hanged.. Tolpuddle Martyrs in the UK.. Striking Ford workers shot to death by police !! 1932..same Ford with the pic of Hilter in his office.. ok extreme cases .. but owners will pursue profit.. means everyone who works for them gets screwed..

Unions are not perfect.. the old one in the UK in the 80,s when I was starting out was very corrupt .. and well known to be.. But a Union in the real sense of the word.. in any industry is needed.. its not open to debate.. its empirical fact.. just look at how it was before they existed.. and thats the reason they came into being in the first place.. Its this right wing fox talk,and even from t**ts in our industry .. talking about lazy union workers.. that has been trotted out for years from reactionary morons .. everyone be in the union.. if your lazy or just actually no good at the job.. you wont be hired again.. its about fair work practices .. very least 10 hr turn over.. people really are actually dying in our industry due to crazy work hours .. No union and we are all screwed .. end of story..

Its just those blue collar truck driver types.. Im sure they dont know Kubric from a Kitkat bar.. hanging around in the sun all day..hell they probably watch football on 4-3 tv,s.. and have never seen a Nolan sisters film..

Tyler.. I guess your stepping out of the indie ,BM pocket camera world you are in.. professionals will demand a wage you seem to be not used to dealing with..

Its the non union business thats needs to get sorted out.. its literally killing people.. why shouldnt film workers get paid a decent wage.. producers dont complain about getting their beamers serviced,or pool houses showers being fixed .. at massive hourly rates.. or their lawyers and accountants charging way more than most jobbing DP,s..

Tyler.. why am I not surprised.. so its the unions fault you are not being able to save the worlds film industry from a pit of digital non caring infidels .. Ps I know a lawyer who makes $400,000 plus a year.. in his 30,s .. charge $1,000 an hour sitting on his arse in a nice office.. talks and taps a few keys on a computer.. and he's considered poor by the partners .. they buy him drinks.. and pay for his golf.. A DIT working 14 hr days who has alot of responsibility is being very poorly paid in comparison ..

Most archive is actually tape now.. and with say RAW.. you can go back to the original and make what ever changes you want..but there is no fool proof archive for film or video .. yes film doesn't have to be timed.. but you talk about it as if its the devils work.. its PART of the process.. why do you have this idea that no one cares about their work because they are shooting digital.. its just a nuts crazy idea.. I think you need to visit a proper film set one day and see how it works.. all the worlds leading DP,s since the modern age have been timing their rushes.. pushing or pulling stops by rating films differently .. or ISO on digital .. Im very sure they are caring alot about their work as is everyone else on the set.. Even a very respected and experienced DP would be getting a few strange looks coming out with this stuff.. I really dont get this evangelical thing your pushing.. about the hole filmmaker and education stuff.. what do you mean by education. .. film needs to be processed, it needs lab,s .. it needs alot more technical people around it than digital .. its entertainment .. yes films can have social messages too.. but it started as a sheet put up next to the circus tent.. its an art form yes.. but the script is far far more important than all this time worrying over grain.. oh my god its only zero,s and ones.. its not pure .. get behind me satan.. Have you actually shot a mid to large size feature film yourself.. or this is more of an armchair DP thing going on.. Yes I know how camera,s work.. still weird to shoot 45 shutter the whole time..

Well then you could consider all post production "trickery" for film too.. have you ever seen un graded film footage shot by very good DP,s.. if often doesnt look that good.. you often see these un graded out takes on DVD,s features sections.. skys are burnt out etc.. grading/coloring is a part of the art of DP ing.. its not just to save a film,or trick audiences into thinking a film was well made.. every film is graded .. Nolan ,s are no exception.. Deakin,s is very particular about grading.. its often written into contracts for the DP to be paid for going to grading.. You think Interstellar wasn't graded ..All daylight scenes in Badlands were over exposed 2 stops the whole film and printed down.. I think your being a bit naive Tyler to think film is not manipulated in post.. its not just 1 light print and the jobs done :).. nearly everyone is pushing or pulling their image to some degree.. if you shoot RAW,or Log.. it all has to be graded to buggery to get any sort of image in post.The great Mr Deakin,s is doing zero grading on set.. just one LUT.. What Im saying is .. if grain is the big problem..it can be applied very simply in post..for digitally originated material.. its all just tools to get the look you want.. my reference t Tangerine.. is well its shot on an iPhone 5 !! with a $160 anamorphic adaptor and alot of post.. but its a great script and great acting and directing.. I wouldn't let all the techie stuff get in the way of enjoying a film.. dont torture yourself sir :) Re shutter angle.. film camera or digital.. you say you shoot most of your material at 45 degree,s.. presumably at 24 fps..doesnt that give you a bit of an odd effect.. ? its up to you of course.. but for "normal" shooting instead of 180 you use 45.. does this not give a very staccato look.. even the 90 in Private Ryan had it.. although that was for an effect .. for a short part of the film.. so I wonder why you would prefer to shoot 45 for most of your material seemingly regardless of special effect etc.. Agree about the hologram thing personally.. but who knows it could be the future ? although Im very glad that 3D has seemed to have bitten the dust a second time..

They are great till the velcro wears out :).. thats the plus with the expandable .. no frame and they snap out tight.. its pretty much the most compact ,large enough for close head/shoulders diffusion "Frame" you can get... Not the best.. but easiest for minimum gear ,tight space work.. IMHO..