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Robin Probyn

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Everything posted by Robin Probyn

  1. 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 ..
  2. 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..
  3. 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 .. 🙂
  4. 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 ..
  5. 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 ..
  6. Well I didn't mean to be aggressive ,sorry if it came over that way ..guess I would be the horrible grumpy teacher ! I did try to pass on information about corp/ doc shoots .. basically yes you never go in totally blind .. but there are varying degrees ..some shoots I really don't have alot of information ..some there are a million emails .. but deeper aspects like the clients goals , sales strategy, some big concept they are trying out etc..all that sort of stuff.. the crew is not part of.. expect the director and producer .. and there are very few times you are going to have any sort of face to face meetings and long discussions with clients .. as a freelance DP in the corp /doc world..you have contact with the producers of the production company .. but they will keep their clients at arms length from you.. they very rarely encourage alot of direct contact.. it seemed to me you were thinking that would happen and if not, should happen .. but if you are just the "camera guy".. it doesn't happen And there will be times when you might not have met any other crew member .. and its hard to even get the frame rate out of production ,let alone anything else 🙂 .. Edit .. Feature films /big budget drama ,commercials .. of course its very different , they have alot of prep and meetings and go over the tiniest details .. as we can see in the video,s .. but I believe that is a very different job from us mere mortals on these forums .. although of course we get inspiration and learn from these guys.. the Roger Deakins pod casts "team Deakins" and guests .. are very interesting ..
  7. apologies .. I have obviously hurt your feelings .. not intended .. maybe its a cultural difference between the UK "banter" and Australia .. Im sure you are a very good photographer ..I don't think I ever remotely questioned that .. as I said before.. good luck for the future sir.. lets leave it at that shall we..
  8. I was just telling you how it is in the real work of freelancing .. as you seemed to be asking .. sorry if you didn't like what you heard .. don't shoot the messenger 🙂 .. go forth and prosper.. all power to you sir ..
  9. .. the thing is the "work place" of a big budget feature film is nothing like your average corp and totally a different planet to doc shoots .. its comparing an f1 drivers work, to driving a fork lift at Wal Mart .. every one can have a style they like to shoot even with an iPhone .. but on these productions the DoP,s job is very different from ours.. they are first of all telling a story .. they are working with a director not like we do on corps /doc,s.. they are working with wardrobe .set design , makeup, XVF, most often very big lighting rigs .. massive cranes, remote work , aerial , and managing a camera crew of maybe 5 or more people .. they have their own team .. its a completely different world .. doc DO,s have made the move over .. Roger Deakins for one .. but they have to adjust to a different world .. its only relatively recently that the DoP on a feature or even tv drama would actually operate the camera .. and still its not common practice .. sure the basic concepts are the same .. and for sure we can all learn from feature films and use those tricks/ ideas with our small shoots.. motivated light .. we use that everyday lighting an interview .. but as a job, shooting a feature film is not like shooting a corp ..and not like shooting a documentary . where often you have zero control over anything .. even when you have a piss.. ! Maybe this is the difference here .. Im talking about working as a jobbing freelancer .. if you want to make your own narrative films , and be a film maker .. (which I wouldn't call myself).. or work with a film making group doing drama .. experimental films etc... then great all power to you.. but we are talking at cross purposes .. different jobs..
  10. Yeah you of course have the details of the actual shoot .. but long term goals ,sales strategy alot of in-depth meetings with the client ,you don't do.. the production company will do all that with their client .. the production company or agency .. then employs us .. often the director too unless they are in house .. our concern is the nuts and bolts of actually making the video rather than the clients long term goals etc .. unless they come on the shoot you will have seldom ever met the actual clients .. or until the day you film them .. and there are some jobs where you havnt met the other crew members before .. but of course there are teams that form.. alot of camera people work with the same few audio guys .. and directors with the same few camera people ..
  11. Interesting video .. but these are big time DoP,s like Roger Deakins !.. shooting feature films or big budget drama .. thats isn't really the world of people on these forums.. its something to aspire to for sure but its a far cry from corporate and doc shoots !
  12. No.. well of course you exchange emails / Skype /zoom etc ...reference screen grabs often.. and you know what the project is about .. the look they want.. and of course camera specs and what gear is expected to be provided for the rate..you seemed to think it was strange not to have met up face to face for lengthy discussions ,discussing goals, planning the strategy.. we are not part of that in the video world . apart from maybe being asked some techie question.. .. that would be the client and the agency people / director / Producer ..etc ... its rare now but the last two shoots I did I had a location scout .. but that was just me going into the locations.. the organizing of schedules and logistics is done by the production / local fixer .. basically in the corp / doc world , you are responsible for the shooting only, providing the right spec camera and settings of that camera ..lights and any dolly .. gimbal.. wireless monitor .. etc ..I often asked what lights I have.. or they are on a gear list .. I usually provide the audio guy too, and he brings his gear .. sometimes they ask me to provide a local fixer / producer .. but I like to keep their payments separate from mine .. I believe thats pretty much it .. it sounds like as a stills photographer you are alot more invested in the whole project and there are a ton of meetings .. on a feature film or massive commercial that would be the same too.. working with art dept and wardrobe and obviously very closely with the director .. but corporate/ doc its much more about the gear / crew you are providing .. and a decent CV / showreel / recommendation..to get the job in the first place and basically they just tell you what they want to film !.. often its really a case that they have just made the shoot happen .. got you to the location .. then they say ok we need this or that from this location... and off you go and shoot it.. there isn't really much to actually direct .. others might disagree .. but thats how it is for me shooting over 20 years .. I don't think you are ever going to be admired for Muti skilling on a video shoot .. they will just think you work for a cheap rate .. need the work.. and exploit you even more .. sorry to say .. its much better to have the right person for that job on the crew with you.. Thanks ..
  13. Yeah.. Ray has yet to join the great freelance circus as yet ..still wearing rose tinted glasses I think he's in for a bit of a shock .. some of his ideals will be out the window .. but its still better than working .. as they say .
  14. I bring the crew that Im charging for the day rate .. sorry but with due respect obviously you are not yet really working as freelance DP .. many / most .. jobs you have not met anyone till you turn up on set .. I have flown from Japan to Denmark, to shoot a 6 week job for Australian TV and have not met any of other crew ,except for the presenter ..and the same thing happened for Singapore for the same series .. 6 week shoot .. only me and the presenter the same .. and the same for many other countries .. and where I live directors fly in (well used to) and mostly I have never met them before .. these days often a Skype / zoom chat ..but thats it .. even some commercials this will happen.. feature films sure different .. but this forum is not that market .. nor is that the OP,s market ..of course you have emailed etc ..I feel you don't really have a grasp of the job .. no one is talking about shiny toys .. you are charging for your skill.. that goes without saying ..you wouldn't even be there .. but believe it or not the gear you turn up with counts .. you have some sort of glorified film school naive out look .. do a few years and you will see what I mean ..
  15. Im not saying they only judge you on your lights.. but many will know if I light costs $200 or $2000 and they will usually not look the same either at that price.. I think most directors I work with would actually know the difference ..alot do know about gear, alot of them have been DP,s !.. if your rate is high and your working on "higher end" docs or corps .. they are quite particular about gear and will ask for a complete gear list .. including lights .. totally apart from your show reel and CV.. part of it is BS for sure .. but its a part of the game being a freelance DP.. for good or for bad .. what makes you think they would be fickle clients .. just because they know about gear and want to know what they are paying for .. ? shooting/director doing the whole project start to finish, for sure matters alot less ,clients are just interested in the finished edit.. Im talking as a jobbing freelancer .. just doing the shooting .. I would definitely judge a trades person by the van they turn up in and the tools they have ,and the condition of these tools .. as well as their reputation .. you wouldn't ??
  16. I guess its down to the build quality .. buy cheap, they get knocked about and break.. buy new ones .. but more importantly the color.. no point to buy cheap LEDS if every interview you shoot they are green and have to be corrected in post .. and depending on your market.. if you charge a decent day rate, but turn up with obviously looking very cheap lights .. some director / producer know a bit about gear or have at least seen what everyone else turns up with for the same rate..
  17. I'll willing to fly economy into the US.. but will need a town car pick up to hotel.. and a corner room .. with executive breakfast lounge access ... thanks ..
  18. I would have thought the A7sIII would have specific S Cinetone picture profile .. yes I know different sensor and all that, but they make a claim about matching the Venice /fx9 color science ,maybe Slog.. but there are a ton of PP,s but not one that says S Cinetone (like).. I just thought that would be an obvious "feature" for a video centric A7..
  19. I use the Bolt 500 for a few years now.. I believe there is a newer version.. but as above Teradek is the standard .. all the rental companies have them because the they work and well built .. simple and works .. you have to go a long way before it cuts out ..
  20. yeah have to say a part of me is glad that 8k is a total mess.. I think the whole K thing is marketing bollocks .. 6k down sample to 4K seems to be the Goldilocks level.. for 99% of any productions.. at the most.. Sure make a specialist 8k camera for effects .. like there is for high speed .. , but in a mirrorless stills camera video mode ..???? 14 mins record time and 20 mins to cool down .. yes good thinking Canon management ,Im sure that was worth 1,000 meetings .. and the A7s111 coming out .. I'd be selling my canon shares .. presumably the engineers were against it but over ridden by their fearless leaders in suits ..
  21. Sony managed to address their over heating problems with a FW up date ,and I guess some legal arse covering where it says opting for the 'High" temperature freehold option in the menu could damage your camera.. but basically they had set the cut off limit way too low and no one has had a problem with the high settings .. and thew A camera,s just dont over heat anymore .. not sure if Canon have that leeway with the 8K sensor ..
  22. CMOS sensors are alot cheaper to make .. and easy to make larger size.. for manufactures it probably comes down to that ..
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