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Robin Probyn

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Robin Probyn last won the day on September 4

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  1. And for slo mo.. Up to 60 fps 5K mode , FF 2k for anything over .. Basically, s35 mode 2K scan is the worst combination ..
  2. By far the most common mistake is setting the image scan mode to FF2K or s352K..thinking it has to be set to 2K when shooting HD.. anything 2K is going to take a quality hit, only use it for HFR over 60fps.. set the imagine scan mode to FF6K and then set the Rec format to any of the 1080 formats and you get lovely HD down sampled from the FF 6K scan..
  3. Was there any normal frame rate footage .. the camera is quite complex , as now it has 3 different scan modes 6K/ 5K / s35.. and s16 in the next FW.. and then scan modes within those sensor sizes for high frame rates ..and things don't automatically go back to "normal " when you change out of S&Q .. most people put S&Q setting on user /all files to make sure everything goes back to where it was ! .. a big mistake is shooting 2k scan thinking you have to, to shoot HD.. but you can set 6k scan / 1920 1080 .. and the camera will down sample to a lovely HD image from the full 6K sensor ..
  4. could the operator have switched to s35 scan mode as a digital zoom ?.. so the difference is from the 6k FF mode to s35 mode .. 2K scan for the slo mo .. being that FF is a better image than the s35 mode for 2K scan slo mo
  5. Yes thats weird ,so the 2K scan theory might be wrong , but alot of people have complained about it .. anything over 60fps is 2K scan AFAIK.. so 120 would be too. NO idea why the effect sensor size would be different though .. Ive posted the question on a Fx9 forum ..
  6. 2k scan I guess .. do you know the S&Q (slo mo) frame rates for the good and bad shots .. on other Sony camera,s fs7 / f5/55 they have a s35mm sensor ,so the drop down to 2K scan for higher frame rates isn't so bad , the f5/55 you can actually change to a 2K OLPF.. but the fx9 is a 6K sensor that down samples in camera to a "true" 4K resolution after debayer .. so from 6k to 2k scan with a 6k OLPF is dodgy if you have any fine detail and on an unlucky focal length .. thats why its so random I would guess..
  7. This might make sense then.. different frame rates maybe .. up to 60fps in s35 crop there is no problem .. but over that the camera will go to 2K scan up to 180fps .. the latest FW has a 5K scan ,which had some glitches but different to yours I think.. it had something like drop out .. this been fixed in an update last week .. V2.01 is the latest .. basically its better to shoot 4K with the fx9 .. and its not a great slo mo camera .. as you pay the price for the 6K sensor, which is what gives it such a great down sampled picture at normal frame rates V3 will have a s16 crop mode which will get rid of the aliases , as no mismatch with the OLPF ,but will crop the FoV of course .. was everything slo mo ?
  8. Yes I just looked at the metadata and was going to change my post .. the other thing is unfortunately this camera doesn't always do well in slo mo over 60fps, as you have to use 2K scan mode .. but the OLPF is for the 6K sensor ,so its a big mismatch and prone to aliasing rather than noise .. maybe thats what your seeing .. is a double edged sword .. normal HD looks great as your down sampling from a 6K image .. but for slo mo is a negative ..
  9. Where you shooting Cine EI Slog.. this camera like all the Sony cameras records at a set ISO in Cine EI mode .. if you use a MLUT (monitor LUT) in the EVF and video outs , this image will change when you change the ISO.. BUT the recording will stay at the same ISO as the camera native ISO.. its like shooting film and setting your meter to a different "offset" value than the films ISO.. if for some reason your operator had put the ISO up, and then closed the iris down , the under lying footage would be under exposed .. thats the only way I can think you would get noise, ie under exposing log footage , with the fx9.. its a 6K sensor and its known for being a very clean image and very little noise ..
  10. If you need or reply on peaking alot ,I would recommend changing to "normal" ,set a level and leave it on all the time .. I used to use color (red) but was given the same advise and its really alot better ..
  11. Yes thats true sir .. for sure go for what best suits .. Ive noticed on Netflix there seems to be quite alot of docs in what looks like some sort of crop ... another thing that seems to be "in vogue" is interviews with a down the barrel eye line .. really noticed that alot as it used to be quite un usual ..
  12. 16-9 is the standard for broadcast .. presumably you are not shooting anamorphic to get your 2.35-1.. and going to do it in crop .. I would look into you future sales plan first .. some might not want cropped 2.35.. or if there is a production company they will tell you anyway .. you could do a "common top" and play safe .. the rules of aspect ratio are not really just guidance .. they will be set by the production company or the producers and not just the DP,s call..
  13. I guess Atomos were working to the Oct release of V2 .. but Sony bought it forward to this week ,and so a bit of a lag .. Reps will sometimes tell you what you to hear .. 🙂
  14. thats what Ive been saying all along .. I just wanted Ray not to get his hopes up ,as far as being in the big discussion mix with the clients ..and being able the mould the look like a feature film .. we don't get that .. often its PTI .. pan ,tilt and invoice .. still its not a bad job to have ..
  15. Yes writing is not my strong point .. I have dyslexia .. (I needed spell check to write that !).. I have no idea about grammar .. and that stuff.. I just tap away with alot of spell check .. probably why I became a cameraman .. yes I think thats a good analogy.. the architect is the producer / or the director .. and the crew are building the thing from the information thats given to them.. I guess we have more freedom than a builder ..buildings cant collapse ! and there are laws for construction .. we are the ones framing the shots and deciding the exposure .. movement of the camera.. these days you nearly always have to give the director a wireless monitor .. its a double edged sword .. if they just say ok great after the first hour, they tends to put it down , if they dont like what they see you have a problem .. come to some compromise.. or have a big row .. Ive only had that once in 25 years + of shooting ..
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