pro 35 loosing light

[Guest ariel]

Hi, How much light do I really loss using the pro 35?

Shooting outdoor nights. Can it be a problem with the pro35?

[Lars.Erik]

You lose 2 f-stops. Are you shooting in a cold climate? If so, you might want to bring additional power to the pro 35. It has had some difficulty shooting in very cold climates.

[JA Tadena]

Hi, How much light do I really loss using the pro 35?

Shooting outdoor nights. Can it be a problem with the pro35?

 

 

I got this from a website: (i forgot which). I did some test and it seemed accurate

 

Engraved T Stop on Len Stop Loss Throughthe PRO35:

 

1.9 - 1 2/3 stops

2.0 - 1 2/3 stops

2.8 - 1 1/3 stops

4 - 1 stop

5.6 - 2/3 stop

8 - 1/3 stop

11 - 1/3 stop

16 0

22 0

 

Ive used the pro 35 only once with the F-950 and Im glad I used it on day exteriors. Imagine if F-950 is usually rated at ASA320, one more f-stop loss is a big factor if your shooting night scenes. But depending on the opening on your lens, you lose a stop or 2. But I wouldnt recommend closing your aperture higher than f/4 because it becomes too grainy (showing too much unwanted artifacts from the rotating ground glass). I kept my opening as wide (although mostly I had problems with shallow depth).

Edited May 14, 2006 by jatadena

[David Mullen ASC]

Seems that the only point in using the Pro-35 is to get the depth of field of shooting in 35mm at T/2 or wider. If you are going to shoot at stops deeper than a T/2.8, you might as well just use fast HD prime lenses (like T/1.6) wide-open and get a similar depth of field with less bother.

[pablomadrid]

Hi, How much light do I really loss using the pro 35?

Shooting outdoor nights. Can it be a problem with the pro35?

 

Hi Ariel,

 

be careful with zeiss 2.1 t (don´t use it)

 

and check the white shading

[pablomadrid]

Hi, How much light do I really loss using the pro 35?

Shooting outdoor nights. Can it be a problem with the pro35?

Hi,

 

I really don´t know the loose of light;

I,ve heard two stops but I´ve been reading an article ( I think the samethat Jatadena mentione) that you can read in www.jkor.com/peter ( a DP)

 

the webpage is very interesting

 

Pablo

[oao]

You don't only loose light but almost everything, def, gamma, color density, color saturation, highlight control... that's only my point of view.

[Harry Capota]

You don't only loose light but almost everything, def, gamma, color density, color saturation, highlight control... that's only my point of view.

 

 

you barely loose definition! I tested it a couple of times vs a digi prime, same t stop.

I watched it on a Sony 24" HD 1080 CRT. Unbeleievable but true. the pro 35 gives you

the effect of a 1/4 - 1/2 promist. it rises your blacks about 3-5 %.

 

 

 

light loss: 1 1/2 - 1 2/3 stop

[Phil Rhodes]

Oh for crying out loud.

 

There is only one "O" in "lose".

 

Grr.

 

P

[Jayson Crothers]

I've used the Pro-35 many times, so here are my observations.

 

You can't shoot above a T4; actually, you can, but if you read the instructions, it specifically states not to because it'll bring the groundglass into focus (hence all the grainy noise you see at a T4 and above). I personally think even T4 is cutting it close; I avoid going over a 2.8.

 

You lose 1 2/3 - 2 Stops; there's this variation because I've found different F900's with different Pro-35 combinations to have a slight variance. In general you can say 2 stops, but as always, test, test, test.

 

It does look like a light diffusion filter, which by it's very definition means you are losing some resolution. To my eye it seems obvious when compared to, say, a Digi-Prime; I had the opportunity to see 35mm film-outs of tests I shot with the F900 using a Pro-35, an F900 with Digi-Primes, and a Varicam with the same combo -

the resolution loss was immediately apparent to everyone in the room.

 

The Pro-35 has inherent aberrations and it magnifies the aberrations in the taking lens; that's why standard Zeiss lenses can't typically be used but the superspeeds seem fine. Zooms are also a tricky thing - I've yet to find one that didn't have some vignetting somewhere in the frame (though I found a Cooke 10-1 at Clairmont that only had a little, but that was as good as I've seen thus far).

 

The Pro-35 should really only be used if you are looking for an extremely shallow focus look - there's the misconception that it's just like 35mm, which it is if you're shooting 35mm between T1.3 and T2.8. In 35mm, you can shoot at deeper stops, but not with the Pro-35. I typically work at a T2/2.8, so it suits my normal working style, but it's not the right tool all the time. Furthermore, keep in mind that you're now working at an asa of around 80-125 (depending on your camera settings of course); suddenly you need a 2K instead of a tweenie, a 5K instead of a 2K - it's havoc on night exteriors and you lose many of the benefits HD provides for dark scenes or night exteriors.

 

I like the Pro-35 just as I like Digi-Primes, Canon Cine-Style HD Zooms, etc- like all things, it's one more tool and has a place on certain productions with certain needs.