Robin R Probyn

I think it means.. they look identical by eye.. but that could just be my interpretation of .. "visually identical "

Passion in good.. but passion without knowledge is not.. Bill.. wasting your time.. Ive been through all this before with Tyler re Sony camera,s and XAVC/XDCAM.. Ive advised literature for him to get a grasp of at least the tech side of digital camera.s.. but it aint going to happen..

If your not doing separate sound,and only one camera..as it would seem so as a one man crew.. can you not just do an audio slate to an on board camera mic.. ?.. if your purpose is just to ID the shots.. ?

Basically no one has any idea.. look at all the massive box office films from way back.. you read about them and see it took years to get them made.. studio heads said they would be crap.. actors turned them down.. thats why they run with hits for ever till the well runs dry.. the budgets are so big they don't want to gamble.. although I read somewhere some study showing actually to make 10 $15m films instead of one.. the studio,s had much more chance of making money off a few hits.. lets hope that thinking comes around.. the endless spin off comic book stuff is getting really dull.. thank god for TV.. :)

Even a Disney ride can make billions .. if you have J.Depp .. playing Keith Richards.. if he were ever a pirate ..

seems every Pan movie is doomed.. there have been a few other big fails too I believe.. even Robin Williams couldn't do it..

Yes thats what I mean.. quite a brave move though.. when you think they just could gone the more usual road..

Pretty brave move.. presumably the Alexa footage was purposely made to look "electronic" for the story ? you would think it would be impossible that it was just done.."badly"

Hi Tyler Sorry for hissy fit.. your right.. not called for.. apologies for that..

Well yes you did say that .. and I questioned it at the time.. You said the F65 was nearly always used in a studio.. or under controlled conditions.. thats plainly wrong.. I dont think you are reading my posts.. you just answer with something totally different because the question puts you on the spot.. Just trying to do you a favor .. its getting embarrassing ..

Tyler.. ​You have claimed on another thread to be an expert in cinematography and post production.. and again I would strongly suggest thats a big mistake for you.. You said digital camera,s dont have ISO/ASA.. what did you mean by that.. thats why i ask you whats the ISO of a film camera.. Still you dont explain this mystical 99.9%-100% white sensor thing .. So you could be teaching all these famous,Oscar winning DP,s shooting F65 movies .. how they are doing it wrong .. perhaps with your BM pocket camera .. Lots of F65 films have been shot on locations.. ext in deserts etc.. do you actually know what changing the ISO is about .. Im sorry man, but really the BS level is getting into the red zone ..

Thats only because the DP,s have been using lots of filters to compensate for the sensitive sensor.. its that .1% between 99.9% and 100% white you have to look out for..and lack of ISO.. or they were all shot in dark situations ..

{digital camera,s}" they don't have ASA/ISO, all of that is electronically controlled." so what is the ASA rating of an Arri 435 or an Aaton.. "Super sensitive imagers LIKE THE SONY ONES need to accept much more light AND still have differentiation between 100% white and 99.9% white.".. what do you mean by this..? 'A good cinematographer will try to keep their cameras within the working ISO and simply use lots of filtration to compensate,".. there are many top dp,s who are shooting big budget films without any filters.. let alone lots of filters..what are these filters you talk about.. what is a camera,s "working ISO" ​So the F65 is a camera that really suffers from harsh white clipping.. because it has a sensitive sensor. in your experience ? .. where have you ever read that.. its native 800 same as Alexa.. you move you ISO up or down to change your grey level.. You better on the phone and impart your knowledge to Storaro.. who is foolishly using one now.. :)

Digital cinema cameras don't have shutters, they don't have ASA/ISO, all of that is electronically controlled. Super sensitive imagers LIKE THE SONY ONES need to accept much more light AND still have differentiation between 100% white and 99.9% white. When you increase the lumens (IE lower ASA) what happens to the imager? It gets over-powered by the light and starts to distort. This is where you get the highlight clipping from, it's actually distortion. When you shoot in very dark situations, that distortion goes away, but anything that's bright and pointed towards the lens, will distort unless heavily filtered to bring down to the imagers working ISO. A good cinematographer will try to keep their cameras within the working ISO and simply use lots of filtration to compensate, this is why in some rare completely controlled situations, you don't see these problems. This is nonsense ..

Well there have been umpteen blind tests with well known DP,s who have not been able to tell.. you must be one of the few .. are you going to the cinema to what these trailers.. My post was about highlight harsh clipping in Sony camera,s.. ENG yes of course.. but F55/65 with Slog RAW / XAVC there is 14 stops..16 bits in RAW.. to say they have harsh highlight clipping is nuts.. yet a BM pocket camera is of course fine .. come on really..

The stocking used for Omen was one of his wife,s ! .. who apparently offered it up when they were talking about his problems finding the right look.. whether she was wearing them at the time was unclear ..

Hi Tyler I know you have a strong dislike of Sony.. :).. but really 16bit RAW from an F55,and certainly an F65.. .. there is no way that high lights are being clipped anymore than Alexa .. even with XAVC EI slog you have 14 stop DR.. There have been many blind side by side tests and no one can tell.. maybe you have been editing PDW800 ENG shoots..what are the low cost Sony camera,s you speak of.. ? thats a another deal altogether. and would never be compared to Alexa... or your monitors are 8 bit.. Sog3 curve is almost identical to LogC.. there is no harsh clipping of highlights.. that statement is cow poo I feel .. but the $1,000 BM pocket camera as always shows none of these defects .. :)

Tom .. how long were you in the diplomatic corp before you became a DP.. :)

Ah yes.. the trick is shoot in Cine EI slog3.cine.. then you are out of the custom REC709 look.. "broadcast" look.. f5/55 is very much 2 camera,s in one.. The WB is only preset in cine EI.. but Ive found that way better than doing any manual WB in custom.. I think the LUTS are fine.. the LC709A "Alexa" look is very nice.. and now you can load your own 3D LUTs.. Maybe it was an early model you had.. Slog3 is very good and the subset .cine is very easy for post.. very easy to set up now.. Cine EI /slog3.cine and your away.. A lot of people are just not using custom at all.. but burning in a user LUT or in camera LUT/LOOK.. for quick turn around.. I think you,ll fine it very easy to get a good look these days with V6.. just avoid Custom mode basically :)

Lighting a chocolate biscuit !! haha.. I,ll have to use that line somewhere,somehow.. .. a bit off topic but I read a short article about Gilbert Taylor who said on the first Star Wars.. Lucas totally ignored him at all times during the shoot ! ..

Hi Aapo Just wonder..what are the Slog glitches you have found.. Thanks

Ok thanks Tyler.. I didnt know that .. have to say I would think that really stinks for the DP.. I don't think those guys had much to learn about the craft .. even from Kubric.. what did the DP,s do.. stand around with a beacon sandwich.. even I wouldn't want to work like that !

Ok fair enough.. yes he obviously knew a lot about making films.. and i guess every director and DP work together at different levels.. I just couldn't see John Alcott et al.. standing around watching the master set all the lights while they marveled on ..

Thanks again for the info and your time.. didnt mean to hijack your thread Matias . .. ! but guess your after the same info anyway..

Sorry wrong quote ... Tyler .. I didnt know that Stan Kubrick did his own DP work.. ??? that might be news to Gilbert Taylor..John Alcott ... Geoffrey Unsworth.. the list goes on.. I really find that hard to believe.. is he on record as saying that.. if so I imagine he was laughed out of the room..