Robin R Probyn

Do you see the noise after a LUT is applied ,have you tried any noise reduction in post ? what are you viewing it on , monitor is set to 10bit etc.@ EI 1250 you were "over" exposing by 1 stop which should give you plenty , unless it was just actually too dark for the camera (or any camera ) to handle .

You laugh now .. but I have spoken ?

Interesting reading this thread ,and Davids old post about DoF charts .I had one of those white plastic Sammys ones in the UK. Im shooting a Netflix doc at the moment , its quite decent budget, produced by Warner TV , and all interviews , walk and talk , of which there are many ,Im using AF eye tracking , on an Fx9 with Sony and Sigma E mount lenses, and it nails it every time , face only setting lets the subject leave frame without focus hunting to the BG . NOT saying the role of FP is over , but these days the tech is 99% fool proof for any drama , single , over shoulder , tracking etc type shots, AF is no longer a dirty word , I was quite surprised it wasn't in the Venice 2 ,at least as an option, as you have the E mount anyway .. I think its on the way ..

Well the whole camera crew walking off ,not being paid for 3 weeks , and already it seems 3 incidents of a gun going off doesn't sound good , I would say this lady was not in control at all , my dad shot feature films but if I tried when I was 20 something, or even now, I doubt the result would have been the same , but more over I would never have got the job in the first place. She was cheap that the only answer , everything goes back to money , deaths , long hours , mental breakdowns , pressure , people shouting , bullying , .. its making a product for the least cost , same as making vacuum cleaners .. or anything .. squeeze the labour of those making it , ever has it been so , no union and your screwed , well effective union that is of course .

Its the same old thing , money. The armourer seems to be no more like a student ,who 4 ,months ago was a studio camera assistant trainee ?? hiring cheap ,inexperienced people in theses roles = exactly what happened , and many flags had already been waved, the whole camera dept walked a few hours before , except the DoP and the Steadicam op ,because of safety and lack of promised hotel accommodation, they hadn't been paid for 3 weeks , it was a shit show already .. the producers of these type of films literally do not care about people dying if they can save $20.. criminals, no other word for it

Gold mount is a very clunky system , they wobble around all over the place , and well yes maybe its me , but the Bauer batts used to be very ugly , , and yes I didn't like that on my camera , same reason I didn't buy a C300.. just a horrible looking thing .. Ive never had a V mount fall off any camera or monitor over 20 years of using them , I have seen them fall off when not put on properly sure , where as the gold mount will just wobble but not fall off, thats plus of some type I guess . Cheap knock off V lock batts and plates from China will wear quickly and fall off no doubt, you should complain to your rental house to get some new / better brand ones and plates . I cant remember the original post but for a user op camera person who travels out the US alot having everything GM is definitely risky as the rest of the world is V mount , if you have to rent on location you will be screwed in many countries if you use only GM ..

I haven't used the RED MX, is that the one with the fan that sounds like a jet taking off ? .. f5/55 fan is pretty quite , I guess it was quite enough to shoot 2 seasons of The Crown , my f5 in a quite room you could hear it right next to your head but I never once had an audio person complain to me about it. or post /editors etc.

I would say its normal from my experience with f5/55 .. my fx9 does it too.. also depends the temperature of the room of course , but the camera will try to set a steady temperature straight away. I used to have mine set to auto , in a very quiet location it make a slight noise but never had to stop an interview because of it. Off in record is fine but if your doing very long tales in a hot environment there would be some possibly for damage I guess .. generally I would switch off any camera if I knew no recording for a while , save battery if nothing else

Don't know about run if the mill Chinese productions , the ones that get international release look great , but possibly there is the same thing as here in Japan .. I mean it might just be not very good lighting , and I guess sometimes thats the case , but I think its more a cultural thing of seeming to just have a preference for "brightness" and a lack of any shadows .. Ive just watched about 15 commercials on TV and not a single one had any shadow on a face , and the whole image was very flatly light ,and bright ( tons of text too but thats a different thing) .. I don't think that would happen in the UK/ Europe / US .. you are going to see a shadow on a face within 15 commercials ..

, .. I guess Im basing it off what I see everyday on TV here , everything is very very flat lighting , and 90% of films being churned out , mostly based on successful day time dramas .. maybe they want to keep the same look .. commercials that obviously has big budgets are the same .. not a shadow in sight in at least 95% of them .. some exceptions but definitely compared to western commercials / films / TV drama,s the lighting is way more flat regardless of the "mood" of the scene .. stills photo advertising too ..

They have kept this 2D look in their animation too.. largely , and not gone with the hyper realistic look of Pixar etc .. and I feel still in a lot of drama / commercials .. the lighting is incredibly flat / all at the same stop and without depth, as a style rather than just rubbish lighting ..(well sometimes it is ). even private homes still usually have a large ,round or square fluorescent light in the middle of the ceiling in each room , and thats it .. seldom any other lights unlike the western aesthetic ..Ive often heard from Japanese people that will like a film we have seen , but don't like that its so "dark" and "depressing " .. there is definitely some cultural bent towards "brightness" and seeing every corner of the frame / room ..

Its the same as FF to s35 sensors ,..1.5 x.. for example a Sony fx9 (in FF mode ) to an fs7 or an f55..

Give the director / clients monitors that can load LUT,s .. don't be tied to the camera onboard for what the client / director sees ..

Interesting ,Im thinking to update when the new MBP comes out , would be dealing with XQD cards , I hope they work and its not some big wait For Sony to release updates or information to Apple .. used to be the curse of the old Sonnet SxS card readers , every Apple OS change it was gamble if the reader would work , then Sony taking a long time to give out the necessary info to apple

Sharpness is a bourgeois concept

Flying internationally for sure , I think your going to get your bags opened every X ray .. I strongly advise against using white sand ..

If you can get hold of a Small HD monitor , they have built in 9-16 frame lines .. you could then set up your camera EVF user box for 9-16 , and then output display to your TV logic and match up the frame lines .. or just ditch the TV logic and get a small HD monitor ?

Yes in the Desert Rats, captured at the siege of Tobruk .. being assigned "navigator" as a kid, on long car trips in the UK in the 70,s was not a walk in the park .. and quite similar to the movement of a tank battalion .. ?

Did you work with the old man in Australia ..?

haha yes so true .. I did that job a few times, as well as doing the tea runs with the slate as a tray .. TBH I still think Badlands is Maliks best film to date .... the music is just so good ..

I don't get it .. cant you permanently instal production lights ."for daily use" ...isn't that what a million studios around the world do ? thats why they cost more than LED lights from Walmart .. but you are talking about studios no ? they cant afford tv lights .. I would run from that job .. ?

ok thanks ,so its totally an aesthetic choice , I thought the 4K resolution requirement was some problem ..thanks and good luck with the shoot ..

But doesn't Venice have a 4K 4-3 mode .. cant you just shoot that and spherical lenses ..why shoot anamorphic but 4-3 final aspect ratio .. Im sure Ive missed something here .. but ..?

.. why not just shoot 4-3 or anamorphic.. is there some reason to try to do both at the same time .. seriously question not knocking the idea .. just cant get my head around it .. ?

Although equally you could argue , and Im sure its been done .. because you can have DIT,s , calibrated monitors , LUTs etc, you really can see what you are going to get with digital , you can get it very close to what you want the end look too be .. more so that film .. except maybe a few very experienced film folks .. but even Sir Roger had anxiety over the next days rushes .. ?