Robin R Probyn

Make sure you get paid before the shoot starts.. I think you have to ask yourself why they have chosen someone who doesn't know what they doing.. sorry to be blunt.. but sounds like a scam..

Not sure if your F3 has it.. but the "new" slog 3 cine Gamut has its primaries very much on the same axis as REC709/and the digital cinema "triangles ".. and so much easier to grade re colour shift.. Slog2 the green primary goes way off to the left.. and is way more than th eye can ever see anyway ! .. and so Sony have come up with Slog3.. and the smaller(although still way big enough) sub set Slog3 cine.. I would get a F5/55 or Fs7 too.. :).. make your life a lot easier.. shoot in Cine IE mode with a VF 709 LUT .. and your away to actually do the job of a DP,and not be an engineer.. losing sleep over lines on monitors..

Just use a REC709 LUT in camera or monitor .. and worry about all the other stuff.. like composition and content.. too many people worrying about wave form monitors and 2% or IRE here or there.. no one followed the ASA rating on film cans... of course some sort of level of knowledge is required.. but really you don't need to look at your wave form monitor all the time.. or actually ever..

Things are changing fast.. an F5 with good PL lenses shot ,Slog3 .cine gamut ,can have an Arri C log LUT applied .. and look a lot like an Alexa straight out of the tin.. and is a 4K native camera at a fraction the cost of the top end Alexa.. But for the sheer battle ship build the Arri,s win hands down.. if the weight is not an issue.. which it seldom is on drama anyway.. and the known work flow ..

IDX duo 150.. this is a 146 WH battery in very small form and very good price..

One thing I recall when using them years ago.. if your working fast and need to wrap up and leave.. you will burn the interior silver of the light,as it folds in on itself and this bulbs get hot.. so you need time of them to cool down before folding.. not a problem so much on drama I guess.. but some doc shoots it can be.. nice soft light though.. and quick set up at least..

I shoot a lot of interviews.. TBH I always feel you guys in the US really over light and over complicate your interview lighting.. in the UK/Europe the style these days is much more a "natural" look.. all this hair lights,rim lights,eye lights,kickers .. are seen as a bit cheesy and old fashioned.. There are basic things.. yes away from your background.. shoot into a corner rather a flat wall.. back ground darker than your subject.. and out of focus.. (general rules that of course can be broken depending on style ,Im just talking 101 here)with the advent of s35 sensor video camera,s its all become a lot easier and I seldom light the background at all .. or just a dedo here or there.. you certainly don't need to light a white wall as in grab one.. the harsh shadow of the plane on the stool is distracting .. I would also avoid plants too.. very news.. I would never use more than 3 lights in a location interview.. a nice soft 45 degree key..flagged if needed.. very subtle opposite angle back light.. touch on the hair and cheek.. have some window out of focus background or point a dedo in there.. you don't need big lights either with high ISO camera,s.. Kino through a silk is totally enough.. LED or Flo,s much easier to work with.. no heat,less foot print.. its not rocket science,stills guys have been doing this for a long time.. and Rembrandt before them.. often I,ll just use one soft key light.. if thats what looks best.. Less is more ..

Cant you just shoot the car parking camera facing North as usual.. then cut to a straight on tighter shot.. of the subject getting out.. ?

Thanks for your reply.. yes I know HDD can fail :) .. they don't really need to work for that long for me.. just down loading footage on location and once into the edit.. But interesting I didnt know they recorded from the outside towards the centre.. in which case the only record to 50% would be totally bogus as the first 50% would be on the outside of the disc.. the area that supposedly creates the un reliable ness of any HDD.. according to what he was told anyway.. ! Is that true of all HDD.. fro outside to centre.. Thanks

Never heard this before.. but recently someone told me (he had been told by someone else) that using a HDD over 50% capacity made them less reliable .. seemingly because the "arm" has to go out further to reach data on the outside of the disc.. I heard that data rates can change depending on where data is on the disc.. but never anything about reliability ..?? Thanks

There is a double scan mode in the VF menu if you dislike the inherent "stutter" of panning with 24/25p 180 shutter.. Version 4.. or 4.1.. can help with focus but actually doesn't look very nice in the VF.. :)

I don't think few degrees will help.. but yes a big angle change could do it..

You,ll more than likely have a huge exposure difference to deal with.. 99% of the time when the director says interview in front of a widow its time to run... but if its all ND,ed.. I have used black flags to "hide" lamp reflections.. put them between the light and window obviously.. close to the light usually best.. watch for camera /red record light reflection too..(best turned off anyway if your camera has one).. you,ll need fire power so I would go for an HMI .. and that deals with CB problems too..

Freya I went on the set of that film as a kid. and got chewing gum from Christopher Lee... big kudos at school !

Hi John Yes he was my old man.. happy that his memory lives on.. ! thanks..

My approach is to try and keep things on private buses as much as possible, ​Phil... so you would never take drives on public transport.. I find this stance some what elitist ..

Really. like what camera,s.. PMW500 is totally fine design as is PDW800.. F5/F55 are very well designed camera,s ..? don't think it has anything to do with design to have 50 mbps.. ?? just the guts insides .. C300 is a donkey with ergonomics of a kettle.. has nothing to do with 50 mbps.. Sony took flax for the F3 only being 35.. till they came up gold with the F cams.. just a bit late in the day as the C300 got in first and got a strong foot hold in the psyche of prod managers.. :D

HI Yes I guess I don't think of the F5 needing a VF,as in you don't need a 3rd party one.. F3/C300 VF is not a VF in a pro sense.. it just isn't even by being at the back of the camera if nothing else .. and shoulder rigs for the f5.. are nothing like the crazy frankenrigs for C300/F3 et al.. in fact no cables at all.. just the VF cable completely the same as an ENG camera.. 50 Mbps is basic broadcast is why I mentioned it.. which the F3 isn't .. yes true prores is good,thinking that the OP was talking about buying a camera..? Basically the OP mentioned 2K and theater release and doc style.. at least.. there is control as its a mockumentary not a real doc.. the F5 is just head and shoulders above any others .. for the tight budget production.. in my opinion anyway !!! :)

F5 rolling shutter virtually no existent .. much improved.. and nothing like DSLR.. trouble with F3..although cheap.. you,ll need a shoulder rig,3rd party VF.. and external recorder if you want 50 Mbps.. the F5 also does HD.. down sampled from the full 4K sensor.. by far the best option for this project for HD/ 2K . out of the bag and shoot.. try that with RED..et al.. the Amir is the only thing close.. at double the price,old codec,and battery killer..

Hey you guys need to get out more.. :) not one mention of the Sony F5..!! this is the best choice by far.. EX3.. C300.. RED.. BMCC..FS.. talk about sabotage a production before it even starts !

The flories are only green because it was shot on film.. you mention digital cinematography.. you could muck around with colour balance.. but easier just to get the green in post..

Pana have come out with some so called {PRO} SD cards..maybe they would be a better bet.. ?

James Is there a Sofa in the first shot.. ?? I didnt even see it.. :)

Not really a good example I think.. this is down to the editors.. there were probably 20 camera,s shooting the game.. with Khondji having little input except maybe choosing those camera op,s and post production grading.. looks great though ofcourse ..