Stephen Williams

Are you getting a BNCR mount for your old lenses?

Hi Brian,

I just heard from Jarred the Visual Products BNCR mount is good to go, It's Sunday & they are still working at RED!

From the tests I have done Full 5K is way better than 4k & that's for an HD finish. I really was not expecting that to be the case.

Best Stephen

Just bought it on Ebay!

hi, i am going to shoot in red one mx and using ziess ultra prime lenses ,as i have never shot on red one camera before i want some help about using it a right way . i am following many blogs and forums like creative cow and red user and cinematography .com. i want some help regarding the resolution to shoot whether in 2k or 4k and different operationals for exposure like false colour etc . some website links and personal exp. would be helpful to me

 

abhishek.

Always shoot 4k, False colour works fine, when you are comfortable a light meter works as well. Please don't double post, I will delete the other thread

Are you getting a BNCR mount for your old lenses?

Hopefully, nothing BNCR is approved yet. As the 24mm - 135mm Ultracam lenses (Ex Contax Zeiss) cover FF35 they will be very useful. I have ordered an approved Nikon mount from Optitek that I will use for FX & 2nd Unit plates.

My Cooke Zooms cover 5K 2:1 when cropped 16 x 9. However I do need lenses with full coverage. I do a lot of product shot work & was hoping to take stills from the motion for print. The 75MB Tiff files look quite impressive!

Ah, so it's finally the camera they promised us four years ago?

I think it's better!

Without Red One there would not be Epic , Alexa or the F65. 3 Great cameras all under $100k,

It’s early days & this is what I really like:-

1) Build quality is first class, well above expectations-

2) The PL mount is the best made mount I have ever seen, quite a work of art.

3) The camera boot’s up quickly in aeound 7-8 seconds.

4) The camera camera does not get very hot, therefore the Red Brick batteries last several hours.

5) Touch screen menu’s are very easy to navigate.

6) Redmote again very quick & easy to use.

7) The HD video out is high quality

8) The 2k images at 300fps are far better than I expected.

9) The camera ISO matches my light meter, so setting the stop is very quick

10) Small & light

11) HDRx

12) Being able to View footage (in proxies) from Redcine-X or Premiere Pro with no transcoding on a cheap laptop.

I must add that all the people at Red HQ have been really helpful, camera shipped the day the money arrived. Really most impressive.

Hi,

This is a real name forum, please change user name to your real name.

Thanks Stephen

Hi all,

I've been shooting with my HVX 200 for three years.

I recently shot a two day event, shooting 269 clips to P2 Cards.

In reviewing the footage today, I have found a problem that renders some of the footage unusable. Although I was ONLY shooting 29.97 DVCPRO HD, 13 of the clips have irregular frame rates ranging from 7.99 fps to 27.97 fps.

 

To be exact, the clip frame rates are as follows: 7.99fps x 1 clip, 9.99fps x 2, 11.99fps x 1, 23.98fps x 4, 24.98fps x 4, 27.97fps x 1.

 

I took a look at the quicktime footage of the original clips and sure enough, the frame rates are locked at the lower numbers and the audio is out of sync.

 

I used FCP studio on my notebook, with a G-Safe 2TB external drive. Might not be a coincidence that this is the first time I have used this hardware/software configuration and this is the first time I've seen this problem.

 

The interesting/annoying thing is that the clips had problems very randomly. For example, One clip is fine, the next clip is bad, the next clip is fine... all three clips shot within seconds of each other at the same location with the same setup.

 

Anyone else seeing this kind of issue?

looks like a robot arm from the car industry plant...

Is it trying to replace us?

That was tried 30 years ago, did not work then.

That looks like the arm made by a company called autofuss. Its a San Francisco based company that was started by some former ILM people.

Very interested if it can target track, if not it's just a door stop IMHO.

I believe the crew of 'American Graffiti' did OK, who is the director LOL!

Hi i would like to properly know about a film gate/format mask.

What is a "Film Gate"?

What all sizes film gate are available what are all its Names?

 

People who know kindly share your knowledge so that i can also know without any doubts :D

Thanks in advance

Cheers!!!

The film gate holds the film for exposure, the gate can be 2,3,or 4 perf for 35mm. A 4 perf could be silent (AKA Super 35) or Academy.

Sometimes masks were put in gates.

If you look on the Arri website they list the masks & ground glasses available.

In Los Angeles, if the sound is on a separate roll, then it's called interlocked projection when run in sync with the silent print. It's more common in mixing theaters than at labs though.

The terms Married Print or double head when there was a seperate sound track were common in London during the late 70's .

Clasic Cooke look, if you have used a Cooke zoom before you will know what to expect, slightly soft wide open, very sharp stopped down 1-2 stops.

Hi there. I'm shooting a feature on Super 16mm. Our A camera will be an Arri SR3, PV mount with Panavision Ultra Speeds. We have the option of a donated A-Minima that has a PL mount Cooke Varokinetal 10.4 - 52mm zoom. I already did stock and lens tests with the Panavision lenses and love the look.

 

I won't have a chance to test the Cooke Varokinetal on the A-Minima before we go out. Can anyone with experience shooting these lenses comment if the looks will be close. What's the character of the Cooke Varokinetal?

 

I appreciate your input!

 

Best,

Eric Lin

NYC

DP

Camera & possibly lens needs to be collimated. A good rental house will have the equipment to do this before every rental.

my name is vijay

 

Four days back i was shooting with red myst X,i faced a problem with focus (ultra prime lens).i used wide 14,i wasn't able to get focus then i thought problem with lens but not,what ever range lens ,i had same problem.we could n't identify problem

 

then i started taking measurement,For example tape measurement is 5 feet,if i need to get focus on 5 feet object,i needed to put at 7 feet 4 inch like the same problem continues with all lenses depend up on ranges,next after 30 ft every thing is soft.

 

so, we got new one to shoot......

 

 

Please make me clarify what could be the problem?

 

 

Why you can find sometimes old lenses like Baltar 75 or 50 with a BNCR mount, if they all won't work with a reflex cam . . .

 

 

Michael

Somebody updated the mount on a rackover mitchell?

I think you will find the FFD is different, the Super Baltar's can be used with a reflex camera.

Hi !

 

What do you mean:

 

Is a Super Baltar 20mm or 32mm combinable with a Baltar (not Super Baltar, but 'old' Baltar) 50 mm ?

 

How is the difference ?

 

I'd likw to shoot on Super 16 film . . .

 

I'm not really sure how a Super Baltar lens blends in with a Baltar or even Kowa Cine Prominar lens .

 

Thanks

 

Micha

If you install Expat Shield you will be able to view it as the BBC will think your in the UK.

Forgive my feeble linguistic ability, but even Google Translate doesn't know this: what's a "Schaumstoffeinsaetze"?

Schaumstoff suggests... er... soap? Bubbles"?

P

Pretty sure it's the foam in the Pleican casse.

I'd deliberately zoomed in on him a bit to compensate for his slightly bigger head size - she's only a kid.

 

35mm Super 3 + 4 perf - 1.78 seems to comes out at 160.

 

But you have thrown me there. If no area of the negative is allocated to the soundtrack, aren't those two settings the same width on the negative? So a given lens focal length should yield the same subject image size, but the 1.78 is cropped top and bottom? Do I need to go Google the Technicolor format charts..?

I still think it's nearer 120, 135 is too zoomed in, there is huge head room. I tried to match the head sizes exactly.

S35 does not have a sound track & can't be projected in a normal theatre as it's SUPER nor regular.

R35 would be 35mm Projevtion area 1.185 then there is room for a soundtrack need to zoom out a bit nearer 100mm IMHO.

Wrong settings try 35mm Super 3 + 4 perf - 1.78 then it will all make sense. I have the advantage that I shoot 35mm film most weeks!

You might wast to look at 4k RED, the lenses will be even wider as the recorded area is smaller than S35.

I would also say that the face size does not match, your too zoomed in on the pcam.

hmm.. Hhere's what my pCam shows me (format 35mm full aperture - 1.33):

 

 

Sorry it's soft, I took that with a phone. Here's that first image again:

 

 

about 174mm (I've assumed his head would be slightly bigger than hers)

 

and you guys say 75-90, and 120. That's a huge amount of difference!

 

So what the hell is it?

 

Eyeballing your stills, I would roughly guess at this progression (all focal lengths assuming S35 format):

1. 75-90mm

2. 50mm

3. 30-35mm

4. 24mm

 

It would be handy if you could pick up a Canon DSLR with a cropped sensor (Rebel, 7D, etc). The horizontal dimension of its sensor roughly corresponds with the horizontal dimension of S35, so it could be useful for previewing focal lengths.

My money is on (if such lengths existed)

120

75

45

25

Of course they are very close for FF35 which is what I said earlier, I rest my case.

Huh?

 

Why are you now talking about stills photography? You've somehow made the assumption these stills came off a DSLR? Why?

 

And here's some of those 'fools' you're talking about AbelCine and Panavision

 

But really, what is your problem? 'silly', 'nonsense', 'fools'? Have I offended you elsewhere...?

 

:wacko:

 

I reckon the framings above at those distances, in S3D land, and despite Stephen's intense disapproval, are somewhere around 200, 110, 70, and 40. Just judging by eye. Anyone care to comment?

Pcam is spot on, if you know format size & focal length there is nothing to go wrong.

It^s the DOP's job to know the lenses for the camera he is using, how could he possibly direct the other units if he did not know what was going on.

I have been matching motion control to 3D for 25 years, it's never easy, takes time & patients to do well. Zoom lenses can be a nightmare & primes are rarely exactly the focal length written on them.

The no's people want & need are the real world no's not a conversion to something else by someone who may have never worked on S35 film.

Do you find pCam to be accurate?

 

Well, thanks for all the advice about lens aberrations, but it's something I'm very aware of - particularly when working in 3D. These lenses seem well matched though.

 

I had no idea about the specific focal lengths on that particular camera, which I've never seen before and probably never will again. Call me foolish, let ACs laugh at me, but I just asked for a distance and framing - the tests are about 3D space distortion. The actual focal length didn't matter. But of course people will later ask, so the cameraze assistant wrote down some numbers. I did some focal length conversions later, and to my 35mm sensibility they now look wrong to me. Well, wrong in the sense that a strict 'conversion' in this case won't work. So yes, the tables are clearly rubbish. But since I can't rely on everyone being familiar with a camera that has it's own individual framing quirks, no matter how unprofessional that might be of them, the easiest thing is to somehow figure out what the rough S35 equivalent would be had it been a S35 camera. You know, ball park.

 

It is NOT a test to do with lens distortion.

The Epic Slayer :rolleyes:

Where is Tom?

Normally Equivalent calculations are to FF35 so people 'knoe what there doing'

If you have an Iphone with Pcam you can do a simulation, what I said matches the simulation, it's roughly the same as my Nikon D300 so I think there right.

As you can see it would be much easier just to read off the aczual focal length of the camera at the time!

It's just easier & more professional if people just learnt what they were doing & did not convert to something else. Why is it of any importance what the lens would have been on another camera system that your not using? I just get bored of answering questions from people who have problems with doing conversions!

Huh?

 

Why are you now talking about stills photography? You've somehow made the assumption these stills came off a DSLR? Why?

 

And here's some of those 'fools' you're talking about AbelCine and Panavision

 

But really, what is your problem? 'silly', 'nonsense', 'fools'? Have I offended you elsewhere...?

 

:wacko:

 

I reckon the framings above at those distances, in S3D land, and despite Stephen's intense disapproval, are somewhere around 200, 110, 70, and 40. Just judging by eye. Anyone care to comment?

 

I do see your point. But would a cinematographer used to 35mm working on a HDTV shoot for the first time and asking for the equivalent of 50mm lens really be regarded as a fool?

If a DOP does not know what focal length to ask the assistant to put on the camera, he will be replaced very quickly. The AC will be laughing at you. Assuming he has shot S16mm he will have no problem with HDTV 2/3 focal lengths as they are close.

Your confusion is the equivalent lens relates to FF 35mm Still photography NOT S35 motion picture, so it's less help than you think. Bear in mind that other than in Newspaper & wildlife photography FF 35mm was an amateur format, pros shot 6 x 6 or bigger.

A 'standard' lens for S35 is approx 32mm, FF roughly 50mm S16 roughly 15mm 6x6 roughly 85mm.

FWIW the last shot with a 28mm lens S35 as about right for FOV 1.00m -1.10m range, however it's does not 'look like' a 28mm lens was used on a S35 camera. The first shot would equate to approx 120mm

Sigh....

 

 

 

So it could be argued that when investigating this issue the actual focal length is neither here nor there. However when discussing this with cinematographers they always ask "What lens is that?" Answering that it's Xmm on a Y" chip is unsatisfactory, and the convention is to refer to 35mm focal lengths.

In theory yes, in practice no. 2 lenses of different manufacture will be different, even 2 lenses 1 serial no apart.

There is no convebtion to refer to 35mm focal lengths, this is made up by fools who have no idea what they are talking about.

If I shoot 16mm motion, 35mm motion, 35mm Anamorphic, 35mm stills or 6x6 cm, 6 x9 cm, I put the relevant lens on the camera I want I don't convert, but I have been shooting for 30 + years long before small chip photo cameras came on the market.