christian mann

we ended up with panavision primo close focus lenses now as the xtal would have been a night swop and dop didnt like that.....shame, would have been interesting to use the xtal....

Hi guys, I will do a camera/lenstest tomrrow with the Cooke Xtal Xpres anamorphotic lenses and was wondering if anyone got some experience with these and can tell me what to expect from this old glass? We’ll use the ALEXA Mini… Also, my last anamorphic shoot must be ages ago and I don’t quiet remember the difference in terms of procedure of the lens test…..any advice? what about that check test chart re. distortion….guess I need to shoot it for every less, right? thanks! m

I love the smallhd 702 high bright. just shot 6 days with it in bright bright daylight and no need for sunshade. previously I used the TVLogig ....56 so I can't compare it now with the TVLogic ...58 but the smallhd is 7" vs 5.6" of the latest TVLogic..... Witht the TV Logic I often find myself zooming in 20% - no need for that with the smallhd. I really like it to pull focus.

hey, thanks! that does help. didn't know the app yet. and I don't mind homework :)

Hey, a quick beginners questions...: how much more "power" does a 4KW PAR have vs a 4KW Compact ? Can't find the relevant data online... Thaaaaaanx M

But isn't the ARRI guy making contradicting comments? Looking at the graph it shows that the internal FSND 1.2 blocks IR light. So why would I use an additional IRND like he recommends? Wouldn't that result in a greener image? If the internal FSND 1.2 and 2.1 block Infrared light the use of an additional IRND makes only sense in combination with the internal FSND 0.6 (which doesn't block Infrared I assume). Then again why would you call the internal 0.6 filter Full Spectrum ND if it doesn't block Infrared light?? Any thoughts on that ?

sure it makes sense. but why not have built-in IRND instead of straight ND ?

Hi there, looking at the ALEXA Mini which has built in ND filters I wonder why ARRI wouldn't use built-in IRNDs if the sensor was sensitive to infrared pollution.... Does ARRI want to support Tiffen and Schneider by not using built-in IRNDs or is the Mini simply not sensitive to IR pollution? Has anyone tested this maybe? Thanx

Hey, so I was wondering if it's now true that when you use 2 IRND picture will turn green... If one IRND blocks Infrared light shouldn't there be "no more" Infrared light left the be blocked for the 2nd IRND? Why would the 2nd IRND filter have an effect on the image if the Infrared has already been blocked? Does the IRND have a green layer that blocks the Infrared and hence will turn the image green when using 2 IRNDs or how excactly does an IRND work? I've seen some DoPs using 2 IRND without any hesitation, others don't... What's your take on it? Thanx

Hi Tyler, thanx for the infos thus far. I also got more infos by now from production so the requierments have change and it looks like this: it is a reality show where only 20% are filmed in/under water and the rest will be on the boats and on land. I scrapped the RED/Mini idea (budget) and also Cams like C300 are too epensive. We've shot a reality show before with the FS-7 and I actually like it quiet a bit (and the producer too ;) ) So in terms of underwater filming: we won't have lights but the BM Pocket Camera still looks interesting......I guess the Metabones adapter won't compensate when it comes to sensitivity....it's just one stop. But I guess the difference in terms of sensitivity between AS7 II and BMPC is more than just one stop.... Now that I know that only 20% will be filmed underwater I am more willing to make a compromise with the underwater cameras. In an ideal world I would be using the same camera for all the shots but this is just not happening....so I'd rather go the best option available for the cameras "on land" and most likely settle for 2nd best in terms of underwater cameras... Re. the AS7II : isn't the color sampling 4:2:0 also an issue? Isn't that going to be a problem when grading the shots? Or would it not be a big issue as colorspace isn't top priority underwater..... How about the Black Magic Production Camera? 4K, 12-bit RAW, 35mm sensor.......what is the performance in low light compared to the AS7II ?

Hi guys, we might do a 2 weeks underwater shoot off the Wild Coast in South Africa... As I'm not really experienced underwater I was wondering which camera(s) would you choose? What would be the options? We are looking at using about 5 cams in total. Due to budget restrictions we are likely to use one "proper" cam (ALEXA Mini or RED Dragon?) and about 4 smaller/cheaper cams...I thought of either SONY FS-7, Canon C300 Mark II, Blackmagic URSA (mini) and SONY AS7 II. Does anyone have experience with either of the cams under water, what is the performance is like and what would be the best option in terms of handling? Which underwater housing can you recommend ? Any thoughts/input on the suggested cams? Any other recommandations? We'll be shooting up to 20m below the surface but obviously also be shooting interviews on land/on the boats. It'll be broadcasted on TV..... Thanx for some input form the underwater cracks :)

ok, cool. thanx for the detailed explanation re. macro/diopter! making sense :) m

and on another note: why would I use a diopter instead of a macro lens ( which does wfocus to infinity) ? if it's about a "closer" close focus a macro seems the way forward, not? m

I see, I see. So, does that mean I can work out the close focus with the formula Xmin = X/(DX+1) and when it comes to the greates disctance for sharp focus the follwoing applies: diopter 0,5=2m diopter 1=1m diopter 2=0,5m with any lens, format, stop? If so, what is the formula for this? Or how else would I determie the greates disctance for sharp focus with diopters ? M

Hi guys, when shooting with diopters the other day I noticed that you can actually not focus objects in a distance, only close and middle range distances. What is the proper mathematical/physical explanation for this? I know that diopters bring the close focus "closer" but why can't one focus throughout until infinity? And is there a way to determine the "maximium focus" (opposite of close focus) ? Let's say you're shooting with an ALEXA 16:9 2K with a 50mm f2.8 and a diopter 1.....apparently close focus will be 1m but can I predict the "maximal" focus? Would be handy to know. And does it change according to lens, format, f stop? If a diopter 1 brings the close focus to 1m - does that apply to any focal lenght? Hard to believe... Thanx for your input :) M