Robin R Probyn

Ok then the slip in plastic/acrylic ones will be perfect,I have them more as a protection filter than anything.. just that they don't really make the quality of the light much softer.. or will any diffusion really close to the relatively small light source .. your not making the source any "larger" in relation to your subject.. basically you want to go the other way and get bigger flags,rather than smaller diffusion ..

Hi Bill Totally agree sir .. thanks for your reply.. ! Live long and prosper ..

Marc . I admire your dedication to your art.. at your age I would be concentrating on other strong visual attributes on display.. :)

I have some 1x1 lit panels.. you can buy as extra,s plastic type diffusers that slide into the front.. trouble is the actual light source remains the same size,so its not really enough to soften the light out ... unless you have a very small target object.. I hang a small silk 3x3. from a light weight boom arm.. about 1 metre in front of the light.. this will soften it enough for faces .. as long as your close enough to the subject..

I,d bet the farm those clips are 35mm.. maybe even Panavision .. Ive shot Beyonce and there is a hundred people around the monitor,s giving you grief .. they just want the flattest light known to mankind right in the face..

Please accept my apologies if I have offended you in anyway.. not at all intended ! ..

Man this is getting blown totally out of proportion.. its not cut throat A hole V,s noble up standing crusader with a camera.. Im sure you are a very nice and principled individual .. what I question is that in this business,and a lot of the practices of our business are very one sided and nothing like most business at all.. have you seen that great video that was doing the rounds putting film industry conditions into "normal" business situations.. Crew are often taken advantage of.. we have all this moral obligation, man of our word stuff.. and its totally a one way street .. thats why we need union,s.. that why we need 10 hr turn overs.. please read up on Haskel Wexlers campaign .. a lot people have died on shoots driving home after 20 hr days.. ALL I'm saying is .. lets dispel this attitude of the noble lens master in his/her garret ,cleaning their Bolex and watching Citizen Kane all night .. Im not an A hole ..I have never quit a job the day before,or just taken another mid shoot.. yes thats totally not right. no professional is doing this either... but I have a business to run too.. Im a professional cameraman and a lot of the common practices in our industry would never be tolerated in any other trade/business.. I think you will find after a few years there will be a time when the penny drops,or you lose $15,000 because you have been jerked around . and we all need to standup for ourselves .. thats all Im saying..

Phil.. sorry you totally mis understand my post.. all Im saying is Bill is being a bit on the naive side.. Im all for decent human beings.. but can they also be working both sides of the business .. crew and production companies.. you guys need to get out a bit more :)

Bill With due respect.. you must be a bit wet behind the ears in this business.. its nothing to do with how you are raised or character .. its about running a business and a career .. if your good enough you,ll have to do this one day in the near future.. and you,ll read your post and laugh with embarrassment .. :)

Thats why the studio cut was really stupid.. cut out the dream.. and the origami makes no sense.. !!

We do find out.. we didnt originally because the studio,s cut out the dream sequence with the unicorn .. Scott put it back in for the director s cut .. and it all makes sense .. people have read too much into it as usual ..hanging around in coffee shops in Santa Monica .. from the director of the film.. Also in a interview Ridley Scott did in Wired magazine in 2007[2], he explained this matter: Wired: It was never on paper that Deckard is a replicant. Scott: It was, actually. That's the whole point of Gaff, the guy who makes origami and leaves little matchstick figures around. He doesn't like Deckard, and we don't really know why. If you take for granted for a moment that, let's say, Deckard is a Nexus 7, he probably has an unknown life span and therefore is starting to get awfully human. Gaff, at the very end, leaves an origami, which is a piece of silver paper you might find in a cigarette packet, and it's a unicorn. Now, the unicorn in Deckard's daydream tells me that Deckard wouldn't normally talk about such a thing to anyone. If Gaff knew about that, it's Gaff's message to say, "I've read your file, mate." That relates to Deckard's first speech to Rachael when he says, "That's not your imagination, that's Tyrell's niece's daydream." And he describes a little spider on a bush outside the window. The spider is an implanted piece of imagination. And therefore Deckard, too, has imagination and even history implanted in his head.

If its not production screwing you around but just a "better job" either for your career e.g... a first feature.. a big commercial .. what ever ..a big break type scenario .. then you have to make your choice and live with it.. probably you will be letting someone down .. but I think they should also see your side.. I,ll bet all the big time DOP,s left someone in the poop when they got their big break.. and maybe you have to be ambitious enough to take it.. or be a "nicer "person but not be a big time DOP.. :) Like wise if its a massive financial difference .. 3 day shoot to 6 month shoot.. as Mr Mullins says.. I think you have to make that choice and if you do.. production should really cut you a break .. they would do the same to you thats for sure.. But its so often not a level playing field.. this weird and very misguided moral obligation to production companies .. which we all seem to have to some extent..Ive just got to feel over the years.. is very mis guided .. what other business is like this..

Why.. we can find out if he's human or robot.. that was the question nes par.. ?

Second Godfather was as good or better than the first.. and the second star wars was better than first.. BUT then they both went to soup in a basket ..

So what about all the productions companies that regularly change dates,no cancellation fee,double book crews looking for the cheapest.. etc .. we have been conned for a long time that its all on our side to be honorable and just.. because we are all doing it for passion and love right.. its also a job.. me asking to change /cancel/ supply another DP .. must out number prod co,s mucking me about 1 million to 1.. sorry to say but this rather naive attitude just perpetuates this phony deal.. lets take down that one way street sign erected in concrete by production companies/agencies ..

I think there is a fair bit of clever edit/post work in there too.. not just waving a few Arri spots around..

China is a PAL country.. but NTSC (60i/23.98/29-97) with 1/100 th shutter (instead of 1/60th).. should get rid of flicker.. but if they are phosphorus lights,or run off a generator etc..plenty of dodgy wiring in China.. they might flicker anyway.. but usually you would see it in the VF..? or playback .. What about using a Sony FS7.. with out all the add ons .. looks like a pro sumer camera.. although its actually a very good camera ..

You don't have any MLUTS to VF or monitor.. ? LOG will always look dark and lacking in contrast on Rec 709.. is that what your saying ..? sorry if Ive got it wrong..

Found this on the inter web.. see below.. also for 240 fps you will need to shoot in RAW with the RAW recorder that fits V mount onto the back of the F5.. max to internal SxS is 180 .. HMI lighting that uses electronic ballasts will not flicker, but they can be prone to another artifact. This would be Arc Wander, as described in the previous passage, the hot spot of the electrical arc that travels in the plasmatic gas within the glass bubble moves back and forth between the two cathodes. The resulting effect appears as shimmer and colour shift. If one big light is used directly pointed at the subject, this effect can be quite obvious. If many lights are mixed together or if the light is punched through diffusion then Arc Wander can often be limited to an unnoticeable level. Additionally, Arc Wander is much more apparent in a dark studio scenario, when used outside to compliment natural daylight these effects can often be negligible. With the 300Hz and 1000Hz High Speed Ballasts it is possible to achieve high quality flicker free images at frame rates of 1000 fps and in many cases beyond even with a single HMI daylight source. This new technology supplies the lamp with a greatly raised square wave current rather than the typical 75Hz. High frequency ballasts are available for all wattages from 125 W – 18,000 W. It is recommended to still test the lamps at the shooting speeds required prior to a job.

Yes often twice at the same time too..

be careful with DP.. google it and you,ll see what I mean..

Watch out for any light flicker too.. catches a lot of people out.. you,ll have to shoot XAVC with cards fast enough to handle the data rate. You should be able to rent the filter ? its easy to change yourself..

No front filter for this.. your better off in centre scan.. thats 2K anyway.. centre crop from the 4K sensor.. to avoid any possible aliasing .. at that frame rate the f5/55 will only record in 2K..

but what about porn shoots.. plenty of wide apertures and no clothes for the packs..

Hi Ant.. sorry didnt mean any dis respect.. but your opening line was "Im freshman in a Film School and I've been offered the chance to be the DP of a real and serious TV episode" This didnt sound like a film school project.. it sounded like.. well.. a TV episode.. .. film school project.. totally different.. good luck with it.. most important.. have fun !