Jump to content
Max Field

Most Recent Thing You Learned

Recommended Posts

This is something I've always found fascinating. A new member always posts a thread asking something some, or all, of us learned years ago. The reality is we're all still learning regardless of how many years we've been doing it or how many credits we have to our name.

What's the most recent fact or detail in the process of cinematography you've picked up in your travels and added to your arsenal?

Share this post


Link to post
Share on other sites

That Marcel Beaulieu didn’t care much about mechanics but more about electrics. A contact was added next to the governor of the Reflex 8 models to give energy to the light measuring circuit. If the governor is correctly lubricated, it is electrically isolated, thereby the contact dysfunctional. After a number of copies a double contact was introduced. Having one of those examples here I learnt that yesterday.

  • Upvote 1

Share this post


Link to post
Share on other sites

I have recently learnt that my objections to the whole concept of AF in professional camera work ,is now actually out dated ..and that there is very good hybrid AF in some professional camera,s now .. Sony Fx9 and the Canon C300/500 latest models ..  I think within a few years it will be introduced into flag ship, high end cameras . of course still need a FP ..  AF cant make decisions, but for alot of shots its going to work..  and speed things up..

  • Upvote 2

Share this post


Link to post
Share on other sites
1 hour ago, Robin R Probyn said:

I have recently learnt that my objections to the whole concept of AF in professional camera work ,is now actually out dated

Not when you shoot analog film which isn't dead yet.

 

Just teasing...

  • Like 1
  • Upvote 1

Share this post


Link to post
Share on other sites

Some flat panel monitors emit only polarized light (like my IPS screen below). They can be bright, exposing at f16. You can use a polarizer to easily control these monitors down to full black if desired.

This seems to be a mixed bag toward the keepable light they cast, a vast majority of it eliminated by the CPL filter (splash on a wall or keyboard). But matte objects such as paper and skin exposure do not change. (Oils on skin are still affected by CPL.)

IMG_9794.jpg

 

6 hours ago, Robin R Probyn said:

I think within a few years it will be introduced into flag ship, high end cameras .

I wish more folks used the C700 or shared their experiences with it.

Edited by Stephen Sanchez
  • Upvote 1

Share this post


Link to post
Share on other sites
13 hours ago, Uli Meyer said:

Not when you shoot analog film which isn't dead yet.

 

Just teasing...

haha !  yes I forgot about film ..  is it still being used ..  (runs for cover )

  • Upvote 1
  • Downvote 2

Share this post


Link to post
Share on other sites

I recently learned never to agree to work on a Beaulieu R16 ever again. Way too many wires to desolder just to access the mechanism:
 

CB1E2BF2-BF5E-44F3-8334-DC1CC8F36D9A.jpeg.f0a6a395d09de3c1298a128ecdc8aea6.jpeg

Share this post


Link to post
Share on other sites
10 hours ago, Stephen Sanchez said:

Some flat panel monitors emit only polarized light (like my IPS screen below). They can be bright, exposing at f16. You can use a polarizer to easily control these monitors down to full black if desired.

This seems to be a mixed bag toward the keepable light they cast, a vast majority of it eliminated by the CPL filter (splash on a wall or keyboard). But matte objects such as paper and skin exposure do not change. (Oils on skin are still affected by CPL.)

IMG_9794.jpg

 

I wish more folks used the C700 or shared their experiences with it.

I don't think anyone bought one 🙂 

Share this post


Link to post
Share on other sites
On 9/13/2020 at 2:30 AM, Robin R Probyn said:

I have recently learnt that my objections to the whole concept of AF in professional camera work ,is now actually out dated ..and that there is very good hybrid AF in some professional camera,s now .. Sony Fx9 and the Canon C300/500 latest models ..  I think within a few years it will be introduced into flag ship, high end cameras . of course still need a FP ..  AF cant make decisions, but for alot of shots its going to work..  and speed things up..

Agreed. Was pleasantly surprised how usable the autofocus was on my most recent job. First time working with the FX9. The image is also quite nice, has that super-sampled Red ‘smoothness’ without looking over-sharpened. 

On the other hand, I was rather surprised that they still haven’t fixed the file naming conventions in V2.0. I had to go into the menus and manually set the file name per camera roll for every reload. It’s faster to change a film mag than it is to change an FX9 card at this point. It’s not like they even had to figure out how to do it. It’s in every other one of their cine cameras. All they had to do was copy/paste...

They also for some reason took away the ability to monitor frame guides+record indicator without overlays. I don’t know of any camera operator who wants all the status displays overlaid on the image, and I also haven’t met one who doesn’t need frame guides. They also need a viewing mode that places all the status overlays outside of the picture area. Directors, DPs, Camera Operators, and ACs need to see different things. It’s 2020 Sony, get with the program already.

  • Like 1

Share this post


Link to post
Share on other sites
12 hours ago, Satsuki Murashige said:

Agreed. Was pleasantly surprised how usable the autofocus was on my most recent job. First time working with the FX9. The image is also quite nice, has that super-sampled Red ‘smoothness’ without looking over-sharpened. 

On the other hand, I was rather surprised that they still haven’t fixed the file naming conventions in V2.0. I had to go into the menus and manually set the file name per camera roll for every reload. It’s faster to change a film mag than it is to change an FX9 card at this point. It’s not like they even had to figure out how to do it. It’s in every other one of their cine cameras. All they had to do was copy/paste...

They also for some reason took away the ability to monitor frame guides+record indicator without overlays. I don’t know of any camera operator who wants all the status displays overlaid on the image, and I also haven’t met one who doesn’t need frame guides. They also need a viewing mode that places all the status overlays outside of the picture area. Directors, DPs, Camera Operators, and ACs need to see different things. It’s 2020 Sony, get with the program already.

Yes I would advise turning off all detail and aperture with the fx9.. as I would the f5/55 come to that .. sharp enough without that .. 

Yes the file naming was a gripe of mine too..was really pissed off.. you can do it all by metadata .. but it doesn't have the usual A001 C001 thing .. so I asked a few editors /post people I know and got this answer .. for them the roll number doesn't mean anything, is even "out dated" from tape days work flows  .. as long as the clip numbers go up in sequence and don't repeat ,they are happy ..you have 4 digits for clip numbers 9999 clips,  thats going to cover most shoots .. if not add 1 to the name, then for name I put my initials .. or you can put in the shoot specific name .. so now Im not bothered.. I don't go in and change the cards number manually in the name entry .. no one needs it .. just remember to reset the clip number after each shoot .. so I have RP_0001 or say NatgeoJP_0001..and then just shoot the whole job.. never have to change anything ..haven't had any remarks, complaints  from any post so far ..

The fx9 doesn't have room to put info outside the sensor/frame  .. same as the f5 and the f55..  but there have been alot of requests for a guidelines only setting in the EVF and maybe REC lamp only too.. and hopefully that happens ..I turn off as much of that stuff as I can, dont need half of it .. you could turn them all off in the display menu and actually just have guide lines ..  but there again I wouldn't class the fx9 as a high end flagship camera either .. it cost $10k .. its not a drama, feature film camera really  .. even in hardware .. no power outs ,only 2 SDI,.. but you can now out put 4K via 6G SDI .. and it has DCI now too .. but I think they will make a sensor for the Venice that will have AF in it.. and maybe even Arri will too.. Its really pretty good and its going to get even better .. its the biggest jump in video tech really in recent years .. and it will just speed up production .. and make alot of focus pullers less nervous wrecks .. absolutely not for every shot but say someone running straight to camera .. close ups on FF at very low stops ..  2 days ago I did some interviews on a 85mm Sony prime f1.8.. set to face /eye only .. Zone area over their face ..totally rock solid all day .. thats would be almost impossible manually .. or at least would have meant sweating over the eye piece for hours on end ..  it wont put FP,s out of work .. but it will make life so much easier .. and most importantly quicker 

  • Like 1

Share this post


Link to post
Share on other sites
7 hours ago, Robin R Probyn said:

Yes the file naming was a gripe of mine too..was really pissed off.. you can do it all by metadata .. but it doesn't have the usual A001 C001 thing .. so I asked a few editors /post people I know and got this answer .. for them the roll number doesn't mean anything, is even "out dated" from tape days work flows  .. as long as the clip numbers go up in sequence and don't repeat ,they are happy ..

But what if you’re working with multiple cameras? Personally, I find it helpful to see B001, C002, etc. And if I ask the DIT to see a shot from Roll 4 on B Camera, it’s probably easier for them to find the shot. And what if there’s a recurring problem with a particular camera body or card? I guess you could dig into the metadata, but isn’t it easier to notice that it’s always happening on ‘B’ clips or on every fourth roll # from that camera?

I’m always surprised when I talk to editors, but I guess the roll/camera letter thing is mostly for camera department and making it easy to ensure nothing is missing before sending to post. When I’m editing my own personal projects, it drives me nuts when I get random rolls #s and unformatted cards. Maybe that’s just my OCD, but to me it shows a lack of discipline and preparation. And the footage tends to bear that out. 

Also hate it when nobody keeps track of roll #s on long form projects with multiple DPs and cameras. That’s when you’ll get dozens of A001_C001 clip #s. New camera for the project? Use a new camera letter. Same camera from a few months ago? Continue on roll #s from where you left off. Isn’t that better than every person just using whatever they want? 

Share this post


Link to post
Share on other sites
8 hours ago, Robin R Probyn said:

The fx9 doesn't have room to put info outside the sensor/frame  .. same as the f5 and the f55.. 

Just do what Canon and ARRI do - give a display option to scale down the viewfinder image and put the info in the black area outside of the picture area. Have it available to toggle on/off for personal preference.

This is Sony’s ‘Cine’ line, right? They should have their cameras behave accordingly. DPs need to see exposure info and may want to see Log. Operators need a clean Rec.709 image with frame guides. ACs need to keep an eye on battery voltage, media run times, the record indicator, and a contrasty image for focus. These things need to happen on set simultaneously. The solution seems pretty obvious to me...

Share this post


Link to post
Share on other sites
6 hours ago, Satsuki Murashige said:

Just do what Canon and ARRI do - give a display option to scale down the viewfinder image and put the info in the black area outside of the picture area. Have it available to toggle on/off for personal preference.

This is Sony’s ‘Cine’ line, right? They should have their cameras behave accordingly. DPs need to see exposure info and may want to see Log. Operators need a clean Rec.709 image with frame guides. ACs need to keep an eye on battery voltage, media run times, the record indicator, and a contrasty image for focus. These things need to happen on set simultaneously. The solution seems pretty obvious to me...

Totally agree .. also what most of the fx9 owners want .. they have been lobbying Sony to get this .. or very least marker only toggle .. cine line .. yes just a tag line from Marketing .. I mean you had an EX3 as a cine Alta camera before !!.. they don't have any idea what it means .. guys in suits in a big office building in Shinagawa .. the fx6 will also be Cine line .. ! ..  " Because Japan" as they say here   :) 

Share this post


Link to post
Share on other sites
7 hours ago, Satsuki Murashige said:

But what if you’re working with multiple cameras? Personally, I find it helpful to see B001, C002, etc. And if I ask the DIT to see a shot from Roll 4 on B Camera, it’s probably easier for them to find the shot. And what if there’s a recurring problem with a particular camera body or card? I guess you could dig into the metadata, but isn’t it easier to notice that it’s always happening on ‘B’ clips or on every fourth roll # from that camera?

I’m always surprised when I talk to editors, but I guess the roll/camera letter thing is mostly for camera department and making it easy to ensure nothing is missing before sending to post. When I’m editing my own personal projects, it drives me nuts when I get random rolls #s and unformatted cards. Maybe that’s just my OCD, but to me it shows a lack of discipline and preparation. And the footage tends to bear that out. 

Also hate it when nobody keeps track of roll #s on long form projects with multiple DPs and cameras. That’s when you’ll get dozens of A001_C001 clip #s. New camera for the project? Use a new camera letter. Same camera from a few months ago? Continue on roll #s from where you left off. Isn’t that better than every person just using whatever they want? 

Yes definitely some advantages.   the Venice has the A001C001 naming option.. again its another  request from the fx9 owners site to Sony .. who actually have  a few reps on board and have listened .. I requested it too.. on the request thread ..I dont edit so I thought it was important for post .. so I was a bit relieved when they all said no .. but yes on a drama I can see that finding stuff with report sheets it would help .. I have done some muliticam stuff with fx9,s and actually that was easy .. just put it in the name input .. it has numbers too..   but I imagine its low on their list of priorities TBH.. as it doesn't really effect the target buyers market (docs and corps).. things like this / around view EVF / being able to use the EL200 EVF could happen if the camera goes up the food chain a bit .. but a bit of a vicious circle if it doesn't have them to begin with .. there is much talk of a possible f55 replacement .. personally I don't think it will happen .. the mid level $20-30K cameras have gone I think ..as the 10-15k ones are so much better than even the $30K ones 5 years ago..  but hopefully Sony get the ideas that in this case they will have to have some add on,s .. maybe even paid .. hard and soft ware .. to bring the fx9 up a few steps for higher level work.. I mean with the EL200 EVF.. some sort of remote / mountable LCD panel for the AC / a power board .. better raw recording options  and the fx9 really is a mini Venice .. albeit with rolling shutter .. :) 

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.



  • G-Force Grips



    Visual Products



    FJS International



    Glidecam



    Ritter Battery



    CineLab



    Paralinx LLC



    Media Blackout - Custom Cables and AKS



    Gamma Ray Digital Inc



    Abel Cine



    Tai Audio



    Broadcast Solutions Inc



    Wooden Camera



    Just Cinema Gear



    Serious Gear



    Metropolis Post



    Rig Wheels Passport



    New Pro Video - New and Used Equipment



    The Original Slider


    Cinematography Books and Gear
×
×
  • Create New...