FS7: Which Netflix Originals or Documentaries were shot with FS7/Fs5?

Hey What the heck does it mean to be a Phil Bloom certified Cinematographer anyway?
( I like Phil by the way - no hate intended.)

Maybe I'll start adding

"Len Levy institute of Hard Knocks Certified DP"
 
LennyLevy said:
Hey What the heck does it mean to be a Phil Bloom certified Cinematographer anyway?
( I like Phil by the way - no hate intended.)

Maybe I'll start adding

"Len Levy institute of Hard Knocks Certified DP"
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I think it was about 5-6 years ago, it started as me asking if he would start teaching Cinematography classes, Philip laughed and I of course was being serious but he had a great response that he basically said no one needs to be certified, just go out and shoot. So I told him that I need to be certified by him because I can get more girls, he responded something along these lines"Well it never helped me get women but if it will help you, I certify you!" So now I am certified. HAHAHA
 
Whenever I'm doing a set visit on a Netflix Originals set they have been using a RED. I assume it's the Weapon because between takes the cooling fans go on and it sounds a lot like a hair dryer.
 
OnSet said:
Whenever I'm doing a set visit on a Netflix Originals set they have been using a RED. I assume it's the Weapon because between takes the cooling fans go on and it sounds a lot like a hair dryer.
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Really? This was an issue on DSMC1 Reds like the Dragon. But Red reworked the fans and I've owned the DSMC2 Scarlet-W and now the Epic-W and the fans are not bad at all. Maybe not as quiet as my FS7, but they've never gone hair dryer like the Dragons did. The new cameras are pretty sweet as they addressed some major issues - Fan noise and Black Shade is hugely improved and not really issues anymore, or at least from my experience.
 
May have been an earlier model, but when they cut the fan noise did get crazy. While actually shooting the scenes the fan was either extremely low or off - since much of the dialog was quiet so the room had to be as well. The AC explained to me that the fans needed to be that high between takes to dissipate the amount of heat that had built up while the camera was rolling. The takes were pretty long. It certainly gave us unusable audio for on-set behind-the-scenes shooting between takes.
 
gene_can_sing said:
Really? This was an issue on DSMC1 Reds like the Dragon. But Red reworked the fans and I've owned the DSMC2 Scarlet-W and now the Epic-W and the fans are not bad at all. Maybe not as quiet as my FS7, but they've never gone hair dryer like the Dragons did. The new cameras are pretty sweet as they addressed some major issues - Fan noise and Black Shade is hugely improved and not really issues anymore, or at least from my experience.
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I am so glad you guys are talking about this because I am thinking of buying an Epic Dragon for our next Documentary. My friend has a cousin thats the NetFlix Acquisition Director and he suggests shooting with a RED.

So which year Epic Dragons have the loud sound?
 
JoeJITSU said:
I am so glad you guys are talking about this because I am thinking of buying an Epic Dragon for our next Documentary. My friend has a cousin thats the NetFlix Acquisition Director and he suggests shooting with a RED.

So which year Epic Dragons have the loud sound?
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Don't go RED for docos!

Get a Sony.

Or take a look at the new Panasonic EVA1 (or if you have the budget, which if considering a RED then you do, a Panasonic Varicam LT).
 
I have FS7 and FS5 along with A7RII and A7S but I was considering going the RED route since watching Chef's table on Netflix. According to my friend Netflix goes off of Chef's table to compare and Documentaries must meet the same standards as Chef's table
 
JoeJITSU said:
I have FS7 and FS5 along with A7RII and A7S but I was considering going the RED route since watching Chef's table on Netflix. According to my friend Netflix goes off of Chef's table to compare and Documentaries must meet the same standards as Chef's table
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Regardless of equipment, Chef's Table is beautifully shot and I'm happy to hear that Netflix is placing those standards on future submissions.
 
Guys, check out "The birth of Sake" - Beautiful documentary!

To quote the director Eric Shirai" I shot the majority of the film on a Sony F3 and a Sony F5. I think Sonys are pretty decent cameras. I'm not too big a fan of RED cameras. I think for documentaries they don't really make sense."
Couldn't agree more. Every documentary I shot on Red I suffered through more logistical problems that I don't have with the FS7.

Find it on Netflix or see the trailer here:
http://player.pbs.org/viralplayer/2365691482/
 
My son was Dailies Op on both seasons of Sense 8. It was F55's both seasons, underwater work was Alexa. drone was RED.
 
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