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Aapo Lettinen

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  1. Aapo Lettinen
    you can still try to hack it if you use only one filter at a time: http://www.ebay.com/itm/140976576678?_trksid=p2057872.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT "if you can't get it from China you don't need it" :lol:
  2. Aapo Lettinen
    if reflection is not a problem you can also get custom made cheap glass 4x4 plates which fit to the matte box and use them in front of the filter. I used polycarbonate pieces for this earlier but then I had an optical company made me some 4x4 and 4x5.65 glasses out of normal good quality window glass. it could be something like 10 - 20 usd a piece for small runs and if you order more they will definitely give you a discount :) this was with dimensions finished with 1/10th mm accuracy, if you can do with rougher finishing I believe they would cost a lot less. Would it be possible to fit a 2 to 4mm thick polycarbonate protection layer over a good quality nd filter using some kind of oil as a fitting layer between them for preventing reflections? This would not of course protect you from tree branches and huge rocks but flying debris would just bounce back from it I think and you could easily replace it with a new one quickly :lol:
  3. Aapo Lettinen
    the micro cinema camera should be 995$ and the micro studio camera 1295$ according to Blackmagic Design site. preliminary prices however. They are extremely similar looking because they seem to have the same base body, the main difference from outside is the sensor and the SD card slot in the place where the studio camera has DIN sdi connectors
  4. Aapo Lettinen
    they clearly wanted to use the same body with the Micro Studio Camera, presumably to save in manufacturing costs (larger production quantities) Also for example Panasonic and Canon do this a lot (GH4 has the same Mg body than the GH3, C300Mk2 seems to have the same front body than the original C300, BMPC and BMCC have the same Al body, etc..)
  5. Aapo Lettinen
    this is very common with cheap filters. there is a bit of variance though, some of them tint the image towards GREEN not magenta :lol: cheap glass filters can also have colour problems. I have at least 4 different kinds of glass filters and 4 or 5 kinds of plastic filters (Cokin, Chinese stuff, etc) which all have more or less unpleasing colour cast. some of them have so badly tinted image that I can't use them at all...
  6. Aapo Lettinen
    if it's a no-one-gets-paid deal (passion project/reel material) then it would probably be anything between 30% and 50% for all the equipment depending on the production. I think something like 20 - 25k could be reasonable for starters without knowing more about the production. for example you maybe need certain expensive lights or lenses only for a day or two and can use cheaper alternatives for the rest of the production, etc. As Albion and David said you have to negotiate this with the production staff and director anyway but the 30% ballpark for equipment usually works at least for smaller no-pay indie productions from 2k to 20k :)
  7. Aapo Lettinen
    I think it's the huge variations in brightness/exposure/alignment between frames and also the very low frame rate. It resembles quite a lot of stop motion animation or cutout animation. If using only the low frame rate without the alignment problems and brightness fluctuation (perfect image but only the frame rate lowered) the end result would look very poor and dull, like a webcam image of sorts
  8. Aapo Lettinen
    I think nowadays it might be better to choose a M4/3 or E-mount camera with PL adaptor than adapting Canon cameras to PL hard mount. you can also choose a Blackmagic camera with either PL adaptor or with PL hard mount. I personally use GH4 when needing adaptable system (I use for example PL, B4, Nikkor, EF, C-mount, Pentacon Six, Pentax 67, oct-18 lenses with it. very versatile but noise/sensitivity is a bit of a problem sometimes)
  9. Aapo Lettinen
    canon ef ffd is 44.0mm arri pl ffd is 52mm (-0.01) 52- 44 = 8mm 8mm - 1mm for the adapter = 7mm sounds about right :( Canon ef diameter is smaller than 54mm so there's nothing you can do basically other than changing the whole ef mount
  10. Aapo Lettinen
    I think the max is more like 7mm or so
  11. Aapo Lettinen
    the main difference is that the pl to ef adapters don't allow to use lenses which have long mount so you can't use all cine lenses with them. I think about 5/6 of existing PL lenses don't fit. the problem is mainly the depth of the 54mm cylindrical part of the lens's pl mount. With PL modified 7D you can use most of the existing PL lenses without problems because the clearance is much better. the mount may also be better quality depending on which conversion you choose
  12. Aapo Lettinen
    frame24 seems to have about 184 000 ft of clearance Vivid 500T left in 35mm (460 x 400ft), don't know about other sellers. something from the F series could maybe also work well if you could find enough stock in usable condition
  13. Aapo Lettinen
    has anyone tried converting something other than Vision stock to b/w, for example Fuji Vivid? I suspect the grain would be a little too "sharp" feeling but would definitely be a different look
  14. Aapo Lettinen
    I wouldn't be either, it would require very intensive testing if one would like to use that route :lol: I believe the manufacturing tolerances may not be tight enough for motion picture use but who knows B) On the other hand I can get 400ft of factory sealed clearance Fuji at about the same price than a 60m roll of that Chinese stock costs, that's why I haven't tested these "Lucky" films yet <_<
  15. Aapo Lettinen
    http://www.ebay.com/itm/LUCKY-Aerial-B-W-135-film-ISO200-60m-185ft-Fine-Grain-2010-08-expired/360903129775?_trksid=p2047675.c100005.m1851&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D29006%26meid%3Dd1db750597fa4548adceab151db7bbec%26pid%3D100005%26rk%3D1%26rkt%3D3%26sd%3D360649733465&rt=nc found the link :lol:
  16. Aapo Lettinen
    I saw some Chinese B/W aerial stock on ebay on 60m rolls. of course it's KS perf and no idea what the tolerances would be but would be an interesting option anyway, I think at least Konvas could maybe manage with it :rolleyes:
  17. Aapo Lettinen
    if the shoot is only one day then it might be cheaper to rent proper diffusion than to try replace it with cheap alternative. you will usually need more light when using improvised diffusion
  18. Aapo Lettinen
    oh I misread the original post. Yes, I was talking about bouncing from the paper surface. I have used large translucent tarps for diffusing light every now and then on low budget shoots, they are actually quite good for this, even the cheap ones. They will of course not look like ceiling at all on the wide shots ;)
  19. Aapo Lettinen
    the muslin sounds good :) For a shoot two years ago I used paper tablecloth for building a large bounce surface (about 7 x 9 meters hanging under a truss system). The seams may look very harsh but if you can even them out then you could benefit from the texture the paper may have. At least it is very affordable although very brittle and as said the seams don't look very good unless carefully evened out
  20. Aapo Lettinen
    after effects cc also opens them. if you see black frames you should change the alpha matting settings at import or by using interpret footage. Resolve or Photoshop could not open at least the first 4 shots, did not try with Premiere
  21. Aapo Lettinen
    I sent Phil T. some quickly corrected samples, I think most of the shots can be easily corrected just with contrast tweaking and changing the colors slightly. some slight magenta cast has to be removed and shadows neutralized. some shots may need secondary correction to skin colors and maybe skies but that is also quick to do
  22. Aapo Lettinen
    the first ones are 8-bit and have some alpha problem, I could open them in AE when set the alpha matting to "ignore"
  23. Aapo Lettinen
    there's about million ways to treat these shots, just messing with gamma curves and changing the mid/shadow color balance makes them better. for the ext shot you may want to change the sky color
  24. Aapo Lettinen
    you can load the mag to camera in normal light, you will only expose the visible loop. the film rolls have to be loaded to the mag and exposed film removed in dark
  25. Aapo Lettinen
    there may be too much tension on the take-up side (wrong friction adjustment) which causes the film to slip. you should see this on perforations if you use a dummy roll for testing. you can also upload a video and post it here (remember to include audio) , it should be easy to spot the issue then
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