Robin R Probyn

Christopher Doyle I think likes to put over this image , of the wild artist , but actually sometimes he lets slip, or its very obvious , that he actually knows alot of the techie / lab stuff about film and Digital .. but it doesn't suit his image so he hides it .. he's quite clued in ,in relativity ..

Ok thanks sir .. another thing to look out for ..Im beginning to wish it all stayed fluorescent!!

Thanks for the follow up.. so worth paying attention when using practical LED,s .. but you say its only happened when the dancers were moving quickly .. or there all the time .. ?

Seems more like a budget way to just get some sort of base level amount of illumination ,rather than anything fancy .. I would just pretend someone had left some lights on in the house.. ? .. the documentary solution !

Mmm interesting .. worth remembering..the perils of practical LEDS.. but what Tyler says is also true .. thousands of people are shooting with no film LED,s , Im sure I have many times on docs / corp shoots .. you would think this problem would be happening all the time ..

Venice and alot of the Sony cameras have S&Q (slow and quick) mode .. its a way of baking in slower or quicker off speed frame rates ,into the base frame rate you have set in the camera ..

But then wouldn't you see the source itself also flickering .. it would be over thew whole image the whole time ..? the OP says it only happens when they move quickly , maybe some shutter "thing".. ?

Seems a spin off of their AF in the fx9 /6 and A7s3.. or more likely the other way round .. I have it on the fx9 and have to say its pretty incredible , the face/ eye thing ,set to face only I now use on every interview, with Sony f1.8 primes ..FF 85mm and 55mm .. the DoF is really shallow but it nails focus all day long .. I can see this being introduced into high end cameras ,for alot of shots its just going to save time .. I had a shot of two little kids running right to camera .. 135mm FF wide open .. couldn't have done it without AF.. of course still need a FP for big budget drama etc but for 80% of shots its just going to nail it and save time .. its been the biggest tech leap forward quietly in the background.. and its also a trickle down from the more sinister face recognition software .. I shot a corp for NEC about this about 2 years ago.. airport security systems ..once they have a face and name thats all they need ,get you in the crowd anytime .. but they had all sorts of stuff we couldn't film ,and rooms with big arse metal locked doors strictly out of bounds ..!! military and government surveillance no doubt ..

well I think its as ever some sort of scam to sell TV,s .. better than 3D / 18k / 60p .. but yeah.. the TV decides where to focus .. god save us all .. !.. but re my post .. how bad is the studio stuff shot .. to promote a TV..Jesus !.. the scary thing is some Japanese production company will have been paid a small fortune to make it .. for me its good as its why I get employed by over seas productions coming into Japan.. the local competition ,in the corp / documentary market is a very low bar ..

yeah .. if it doubt on locations with practical mains lights I always follow the "safe" shutter speed thing .. fluorescents are the usual culprits .. but yeah I don't think this is what is causing this funny frame thing personally.. ..

Sometimes its easier to deal with shutter angles than degrees .. at 180 degrees 23.98 your, shutter would be 1/48th .. in the US the mains is 60hz..so the "safe" shutter is 1/60th 1/120th etc..ie divisible by the mains 60hz.. in the UK the safe shutter speed would be 1/50th to match the 50hz mains .. the difference is tiny and no one will notice any difference in motion blur .. neons this doesn't work .. always check but thats the rule of thumb for flicker / shutter .. but I don't think thats your problem .. that would just give you a generally flicker over everything .. this looks different to me .. you see it in all forms of playback ?

what was your frame rate and shutter speed .. ? you see it in playback in camera , other monitors ..

wow what a great presentation video ...

Love his team Deakins pod casts.. my old mate Nosher Ackroyd was on recently ..

Or a big light through 12x12 and bounce ..no ? .. seems simpler and quicker to me.. I'll have a chat with Roger ,help him get his act together and stop pushing the OT hours up on purpose ..

Ok thanks sir ! .. seems like a bit over kill to me ? ... but I think Roger will go far ..

what is a cove light ? Ive never heard him mention them in any of the interviews / pod casts Ive read /listened to ..

The highlight roll off is probably more to do with the Arri Alexa he seems to always use .. and very good grading ..

Yes .. whats most ridiculous is the Oscar wait .. even the year he was nominated for 2 of the 4 films up for it !

Ive met a few who had their "secrets " and didn't really want to share the knowledge too much ,as every AC was future competition in their eyes ..

Not before time .. Roger gets the gong !... although DoP,s in the UK have been called Sir for many years on set anyway ..

The good news is its the best DP,s who are actually the ones who will share their knowledge .. David here and people like Roger Deakins on his site .. Barry Ackroyd also will talk freely about how they work.. its the insure ones who will keep their "secrets" closely guarded .. I found this as an AC too ..

oh see what you mean .. just so the top loop isn't tight .. I used sort of the same technique to make the loop .. quicker than the 2 finger thing ..

I guess send back the noisy mag to have the spinal drives checked again... loop looks ok ,I was taught that 2 finger loop and then shown a much quicker way .. as Stuart says .. make the top loop first .. put the film in the sprocket clamp and close it .. push the film through the top of the mag and the bottom .. but without engaging the lower sprocket holder arm.. push the film up wards on the pressure plate, so that it is just off touching the sprocket clamp arm thing .. then holding that position with one finger .. engage the lower sprocket arm.. takes a bit ion getting used to but is alot easier and quicker when you have it down pat.. The dummy rolls are very loose and ridged compared to a new roll.. I think this is also why they are cutting into those guides so much ..when loading short ends I would always try to pull the film tighter on the core .. to avoid mag scrapping noise .. Short of a total rebuild I guess you will always have some noise off a very old camera , but it still sounds alot quite than a new Arri SR did back in the day ,they sounded like a tractor .. that was always Aatons big thing .. just how quite they were ..

There are not rubber .. some kind of hard plastic ..I cant remember ever seeing them as worn down as that , but that was many years ago and they were all a lot newer ! but they need replacing thats for sure ..