Allen Achterberg

if asked, I'm sure nikon would admit that they are not trying to have big hollywood pictures made with this thing. But you know it would be fun to have and toy with. Looks like it could produce some good web bound content... I'll take it!

I may not have a complete answer for you, but I think I can point you in the right direction. Why?- Chromatic Aberration. CAC lenses allow users to set values to soften or eliminate visible Chromatic Aberration in Lenses. CAC stands for "Chromatic Aberration Compensation" I'm not an expert with this stuff, so do your own research. How?-I can't answer that one. Call a professional at Abel Cinetech and they can help you for sure. Recently we had our tech at Birns do this for us. Some lenses do not have files for CAC, so this is where you'd need to talk to a professional video guy. Call around. I hope I was answering what you were asking. Best

Good Work! Looks great!

for a thousand, I'd have fun with that thing.

the forum requires you to use your real first and last name. Go to your controls and change that. Shooting Stills is one of the better ways to learn. Basic Photography is very important to learn. Shoot on film, and test and practice. this is also helpful. http://rondexter.com/no_camera_camera_course.htm good luck

Panavision did have a 3-perf body. No cost difference. I love those guys

House hasn't been chosen a place yet. I'll call around, see what I find. thanks Stephen

I recently shot a project with a 3-perf S35 PV GII, and we need to grab some additional shots. Since we are shooting some high speed we are going with a Pan-Arri III and it just came to mind, I assume they will but clarification would be nice. If we shot 4-perf super 35 will they need to swap out the gate for that after transferring all of our 3-perf? seems obvious but I dont know for sure so I ask. If so how long does that usually take for them to do that? Maybe I'm better off looking into the Panastar, I assume they've got that bugger in 3-perf but not sure bout the Arri III. If it's a pretty good time loss, I'll call Panavision tomorrow and figure this out. Time is Money right?

You need to learn to ignore what the lens is projecting its image onto, and pay attention only to the size of the image the lens itself is projecting. thats where all your DOF science happens. So it will be the same as whatever format the lens is.

yes. mis typed. thank you.

"porn now using the RED" there's worse things....

Thats true to an extent. One cannot forget that framing for 2-perf scope with the same lenses will yield a new Field of View, which is directly connected to DOF. You will likely be getting wider by using either wide lenses or being further back, in order to frame your shot accordingly within the format which means less depth of field. that shouldn't be overlooked.

I second that. Dont use a brush on the Gate. Camel Hair Brush is standard. If you use the brush on a Mag, blow air afterwards. the brush for the mags helps remove stubborn dust and whatnot that may not come off with air, but may when a roll of film helps it out. the above is correct

breaking a 400ft roll to 4 100 foot rolls wont be worth the hassle. Just get what you need. 100 feet is 100 feet.

if you were looking at it with an HD monitor on set, it's possible that you are noticing when soft much easier because of the resolution on set. it's easier to find your exact focus point when looking through a high res monitor, and freak out when you are off of that exact point in space, but still in acceptable focus. The theory of DOF relies entirely on what most agree to be acceptably sharp focus. However, a lens really only has one true focus point in space..but good luck keeping that spot on.

After Effects has a stabilizer, it's in the motion tracking. You can use that to stabilize footage in after effects. However, you can get better results using the ProDAD Mercalli plug-in. Google it and you'll find what you are looking for. Just remember, there will be quality loss, and if the camera is too shaky you will get blur or soft frames which look funny, so try to get the smoothest shot in production as if you never had the post option, and shoot at the highest resolution possible. because there will be quality loss. good luck

it's simple, your lens projects an image which covers a certain size. ignore the camera and it's aspect ration and pay attention to the lens, it's circle of confusion, it's stop, and the distance you set the lens for focus. Ignore the camera and the aspect ratio that's happening behind the lens. it's a science of the optics. Just follow your DOF charts, and you will be okay. DOF can be affected by circumstances that are caused by different aspect ratios. I am only speaking of Spherical lenses here. If you have a 16x9 native camera, and want to mask your project to 2.40 you will need to compensate your framing by resizing your subject to fit in the wider frame. that gives you a new distance which is further away from the plane and you are getting closer to the hyper-focal distance of a lens. I hope I am not confusing you too much. I may be.

my Konvas was the same way. I assumed thats just how it is, and I avoided using the eyepiece in that angle. I did not want to confuse myself when shooting, because I tried some techniques but all confused me, I'd have to pay close attention to my horizon etc, so it was easiest just not messing with the viewfinder. perhaps Olex has a fix for this I dont know. best

if achieving 4x3 is as simple as merely cropping off the sides of your 16x9 frame then no. it will make no difference . I dont know how that camera is, never used it but if it has a native wide screen image then to achieve 4x3 you'll only need to crop. if the sensor was a 4x3 sensor and you wanted to crop for 16x9 you'd neet to shoot a bit wider, changing your field of view in order to achieve the same top to bottom framing as in 4x3, and that would change your DOF slightly, you'd have more DOF. the thing to pay attention to is your chip size, your field of view and your stop. Focal Length is only important in the sense that tighter lenses crush the distance. But matching the same field of view with a 25mm and a 50mm lens for example will have the same DOF, although the 50mm will have a more noticeable effect.

knowing your DOF is very important. It will help a lot. Laser Pointers are good for some, not so practical for other shots. When you mention having some one verbally helping you with focus do you mean that if it's soft someone is telling you this? Or, are you describing Ron Dexter's radio focus pulling technique? http://rondexter.com/professional/operatio...cus_pulling.htm best Allen

You can test lenses by having them Projected during prep. It's quite revealing. Otherwise, just follow normal prep procedures.

The groundglass can be adjusted on the Red Rock, therefore the witness marks can be correct. I have done this to several units. First, You need to learn to ignore the Camera's settings. Do not use the Camera's Focal Length or F-Stop to determine Depth of Field, think of it more of a way to fine tune your ASA. Ignore the camera. Everything that has to do with the DOF you'll be using will be in front of the Camera, the Lenses on the Red Rock. Assuming you adjust the Red Rock ground glass, and have correct witness marks you can use standard depth of field charts applying the lens length and f-stop. Your result will be satisfactory. If you leave it as is your results will be confusing. I advise you to mess with the red rock. Determine if the ground glass is too close or too far from the back element. I do this by setting the lens to infinity, and then adjust the groundglass so the infinity is correctly in focus. Then I checked the witness marks and they were correct. If you need more guidance, let me know, I'll help you further. Are you pulling your own focus and operating??? Best Allen

not sure what sort of an answer your looking for here. I mean, its a choice for you and you, use your best judgement and if you see it fit with your style, go for it. Not sure many can make the decision for you.

not actually true. matching the field of view with two different lens lengths and a common stop will yield the exact same depth of field. The longer lens will compress the distance however, making the DOF fall off appear much quicker.

go to your thumbnail menu, press the Pause button to select or deselect any given clip, if the clip has a blue outline it has been selected and therefore can will be deleted. Make sure no other clip has a blue highlight unless you want to delete them, if orange highlight that means it has not been selected. Press the menu button while in the thumbnail mode, select whichever option it is that lets you delete a clip or format the card. Then delete the clip. Be careful not to delete something you want to save. very important that you read the manual.