Robin R Probyn

haha That would drive me nuts.. Im super anal about dirt /dust !

Nice piece sir.. kudos for the saw dust in the lens shot ! your a braver man than me !

wow funky little rig there sir.. cool.. agree Sony never looks that good out of the box.. but really with the FS7 and the F5 price area.. these days with XAVC.. Cine EI mode Slog3.cine.. you can get great images.. a lot of people are now burning in the LC709A LUT"look".. its an Alexa look that sony rolled ... and its almost impossible to tell..they have blind tests etc.. Great rig.. I was looking.. where s the camera :).. just comes down to what ever works best for you Good shooting sir..

FS7 hands down.. forget BMC..not a production camera.. C300 total dog.. you can shoot plain old vanilla XDCAM 422 HD.. absolute stalwart of global TV.. or up 4K XAVC.. Cheap and reliable media .. as mentioned before.. by far the best bang for the buck of any camera around..

Yes so you can shoot XAVC MPEG4 and it has frames.. its not Long GOP.. all this stuff about not having frames is wrong Im afraid.. your telling people stuff that is wrong.. for newbies this is not helpful.. XAVC is supported by Avid/Adobe/Sony Vegas/FCP7/FCPX.. your telling people only FCPX and its some tortuous route of transcoding hell.. simply incorrect.. this is not helpful for new comers who believe this.. Pro res was around long before XAVC..you were the one who got it mixed up with MPEG2 remember.. thats what we are talking about .. files are much smaller than pro res The original OP said he wanted a camera for TV production.. Struck gold with a camera that isn't even out yet.. ? Im just stating a fact.. BMC is not an established production camera at all.. I wouldn't advise someone to buy it .. unless they are going to be shooting their own stuff exclusively..the mini is best so far.. but no internal ND,s..?? this will make it useless for a lot of shooting.. Alexa doesnt either.. but really this is a different market.. Im fine with new and different.. Im on my 5th camera.. just BMC have not come out with a decent camera yet.. and pro res is the old.. XAVC is the new.. Im not trying to get onto your case.. but a lot of totally wrong info ..to a new guy.. could really screw things up for them..

Are you talking about Long GOP. ?. XAVC I (intra frame) doesnt have frames ..? pretty sure it does.. I would argue that Pro res is a very old,and very inefficient codec.. it wasn't even meant t be a capture codec.. but Arri had no choice at the time.. XAVC files are the same quality but much more efficient .. as expected of a newer codec rather than a 30 yr old one.. Strangle your post.. I,d say at least 70%.. conservatively .. of the worlds TV footage is shot MPEG.. Out with pro res !! holding everything back ! The BMC camera,s are not really production camera,s used in the real world .. they will never be requested .. except the pocket cam,s for very specific shots..

However, it records in 10 bit 4:2:2 MPEG 2 files which Sony calls XAVC-Intra. These are highly compressed, low bit rate files and have a lot of loss. Plus, XAVC files need to be transcoded to edit. I know FCPX will play them native, but good luck with doing multiple layers and effects, the machine will be rendering non-stop to catch up. Tyler.. the above is totally wrong..you can even play XAVC in FCP7 .. !!! let alone all the others.. and its not Mpeg2.. a lot of loss?.. Ive shot a lot of XAVC 10 bit Slog.. movies have been shot on this codec.. bit more home work please..

Bill FS7 $7,999 on B&H.. body and VF.. the best bang for the buck by far.. its actually the same sensor as the F5 not the F55.. but thats still pretty good.. 14 stop DR in Slog at native ISO 2000.. internal 4k.. 180 fps (I think or close to that) cheaper and way better than C300 II.. or a bit more you have the F5.. PL mount.. side LCD.. both these camera,s are very good mid range camera,s..

You need the light source to be bigger than the subject/object.. with cars that would be a big box light overhead .. ideally you can have a "skirt" around the edge to keep it off your background.. as a basic .. and then go from there.. but without that big over head its going to be tough.. check out the colour of the car too.. and the studio cyc..

Yes just seemed some unlucky combination of things.. A high res transcode,not the correct setting in Avid.. there is a full quality setting.. but click it again and full quality 10 bit comes up.. and maybe the LUT.. there were a few others who had similar on the Sony F55/5 forum .. the editor and guess the dir ! were just worried it was some camera /setting problem.. but at the same time knew it could be their end too.. Usually I would have a copy of the footage at home,but here I didnt..typical ! Bit shocked when I got the email.. but thought 10 bit recording Slog XAVC,for that particular shot and that stop would be unlikely.. but couple of nervous days before the XAVC was tested and found to be ok.. I guess XAVC and Sony Slog3 is still a bit new to many editors.. But thanks for your time and input sir

well apparently so..Im not the editor.. and some setting on Avid.. full quality 10bit..and the LUT that was applied.. when watched in catalyst the original Slog3l XAVC was fine..

Shot in one of the world seed banks in the arctic a few months back.. .not that cold but -20 or so.. the portabrace polar is good...but the design for the VF is too far back if your using a zoom.. (probably a good idea ) and you need to shift the body back and VF forwards for any handheld.. if you have the time I,d get one custom made.. I would agree that its better to keep the camera in there,rather than taking it in and out .. as thats what will cause the condensation.. get your tripod and lens winterized .. you,ll get some lag/blurring/blue tints with the LCD VF.. OLED might be better not sure.. and really cold you risk the side LCD cracking.. Keep your spare batts outside.. or in some sort of heated bag/pocket.. Can you get them to turn it up ! to -30.. thats totally do able with the F55.. but-70 I think is pushing it.. also you,ll only be able to shoot for very small time limits in that cold.. thats really going to take a toll on your body.. way beyond nose hairs freezing up.. !

Hi Mark Just thought I,d let you know.. it was an Avid import problem and 8 bit monitors that bought about the banding.. the XAVC camera footage was totally fine.. Thanks

No No No.. are you kidding.. something like this must be seen on aMac Book..retina ..

Shot this UN LUTed .. its had some LUT applied for editing.. got message from editor about banding problem.. Don't have access to the edit .. he says he has seen it ,to a lesser extent on the original XAVC footage.. As I know it banding is from compression and low bit rate codec.. but 10 bit 100 Mbps should be fine for this shot.. I really cant understand how this could be on the original footage.. any ideas.. ??? Thanks Here is the LUTed clip sent to me.. banding on the wall to his left.. day light ..XAVC HD 25p Canon CN7 lens https://www.dropbox.com/s/ga36y51axova9g8/Banding%20Sample%202%20rear%20wall.tif?dl=0

If you need 4K.. what about F5/55 or FS7.. get some Canon CN7,s.. one could be on Centre Crop some time. to get 240mm some of the time.. although that will be 2K.. but good enough to mix in there..

Yes.. tons on the inter web.. it done to death on music video,and commercials .. at least in the above example its to augment a lighting effect..

Sorry Leon.. don't think you have grasped the meaning of my post..

Don't think thats the lens.. I,d be wanting my money back on that one if it was..! on the wider stage shot you can see vignetting all round.. Im sure that back wall was light roughly with that "shape" but all the rest is done in post.. much faster and more control than on set..

And the Gaffer sleeping in front of it.. typical..

Take the lenses out of the glasses.. I wont tell anyone if you don't.. or just go with the reflections.. its not an interview in someones room... its a space ship right.. if he is moving his around a bit they could look good.. coming in and out .. its the old joke.. whats the difference between high light and flare .. .. about $1000 a day.. :)

Guys.. all this wringing of hands .. pixel peeking..talk of lenses from yesteryear .. maybe hand cranked would be more gritty and real.. and the most bizarre of all... will Roger Deakins do a decent job of the lighting.. I think there might be about five DP,s in the world who would have the credentials to even think that .. but Im pretty sure they never say it out loud.. It doesnt have to look the same.. it just need s to have a good script.. and a decent director.. even second rate actors look good in films with good dir,s and even better scripts .. and if we have to put up with journey man DP like Roger Deakins.. well so be it..

Love the guy about to light up a smoke in the background.. or maybe he was the smoke machine ..

This business came from a dirty sheet put up at the circus.. not so long ago.. and TBH.. a lot of the people running it/working in it are from the same background..

I think Kenny is referring to the telecine .. not the capture format..