David Williams

Shutter off might do it.

Not having used a Nikon ED I can only speculate. Is it an auto iris lens? The MTF won't pass power to the iris motor. Do the iris blades move at all when looking down the lens while mounted?

Adding a 35mm adapter to get a wider is probably not a practical solution. The standard EX3 lens is roughly equivalent to 21mm Academy or 32mm full frame, and the XS8x4 works out as 14mm and 22mm. That's fairly wide already. Add and adapter, and you will lose around 2 to 3 stops at least, then the cost of getting a reasonably matched set of lenses, ones that function well with adapters as you've noted, and numerous other complexities as well. http://www.rplens.com/ sell modified SLR lenses for use with 35mm adapters. What are you shooting?

I think there are a few data points that need filling before you get a useful answer? When you say EF and Nikon, are you direct mount or 35mm adapter? Which Fuji wide lens? What aperture control issue do you mean? If you just want a good, practical wide angle, get the XS8x4 http://blog.abelcine.com/2009/03/24/wide-a...ns-for-the-ex3/

You always get strobing, it's the nature of watching a series of stills below your maximum perception rate. Usually your brain compensates. You need to figure out what is exacerbating it. Some lighting not matching your frame rate? Shutter not matching your frame rate? Moving the camera to fast? Your play back device doesn't match the frame rate? Lots of options...

And not one of the viewers commented on it. No one except those looking for it ever sees it.

The EX has a full color matrix, you can make anything you like.

It might be handy information at a later point. Conversely, you may always have your camera logs, if you do that. Just being able to keep notes and settings embedded in the clip is very handy. All the modern edit systems are beginning to use these fields as well.

There's no change to the codec or clip, but you do lose all the MXF metadata. There have been rumors lately of some update from Sony that expands the use of metadata on the EX to include stuff some of the bigger cams have, like kelvin, f-stop, etc. I wonder what hack Apple will have to implement to retain both their proprietary mov format and MXF data...

There's the new Sony POV cam- http://provideocoalition.com/index.php/Awi..._pov_camcorder/

I've not rated it myself, but read it's about 800. I used a PDW-F800 this weekend, at it's about that too. You should grab the scene files from the pro.sony.com XDCAM HD micro site too.

I think your in the wrong decade here :) The EX is entirely digital, no bleeding between tracks! EX1 and 3 record TC, EX3 can sync to an external TC source, or be the source. TC is totally separate from audio. The audio quality of recording on the EX is easily professional level, Linear PCM (2ch, 16-bit, 48-kHz). So if you can get the signal to the EX, and you only need 2 channels, you don't need anything else. The lens on the EX is pretty good, for the price of course. Minor barrel distortion at full wide, and minor chromatic aberration at long focals on distant subjects. F-Stop also ramps from 1.9 to 2.8. If you want better, you will pay more for the lens than the camera.

Sorry to say you can't possibly have looked very hard? JVC doesn't even have a single camera that supports full HD, 1920*1080, all the JVCs are 1/3 or 1/4 sensors, and both Sony and Panasonic support variable frame rates and true progressive.

Get a used Sony EX1. Nothing comes close in that price range. Has a great macro too.

Detail is really subject to personal taste. I have shot a few low budget features, and have seen some 35mm blow up tests done that looked quite good using these detail settings- level -20 frequency +45 Crispening +20 White Limit +80 Black Limit +80 Knee Apt +10 Using CineGamma 1 mostly, and Matrix set to Cinema, Level +30. That shoots flat, great for post grading. Change as required of course, depending on conditions and scene. Avoid CineGamma 2 as it limits range to 100%, the other are 109%. 1 stretches highlights, 3 is average, 4 stretches blacks. A 2/3 lens does nothing for depth of field I'm afraid. The only way to change that would be to get a 35mm adapter setup like the Letus, Redrock or Brevis.

The DVInfo XDCAM EX forum would be the closest. Search there. http://www.dvinfo.net/forum/sony-xdcam-ex-cinealta/ Unless you already have a bunch of 2/3s, I wouldn't bother. EX3 comes with a 1/2 adapter, Fujinon and Canon make ENG lenses that will bolt right on. The Sony HD is worthless. Get one of the new USB SSD setups http://mxmexpress.com/?page_id=15 Lens control depends on the lens you end up getting. A stock EX3 lens can only have the zoom and stop/start remote. Or get the studio setup, NIPROS. http://pro.sony.com/bbsc/ssr/micro-xdcamex...prosIntro.shtml For shoulder I like this one. http://shop.dm-accessories.com/products/ex3-shoulder

I'd go for the Letus EX3 relay, with the Letus Ultimate adapter out of the currently available gear. The P+S Technik Pro35 EX3 looks nice too, but seems to lose more light. The Cinevate still can't be bought, and only B4, and the MotionFX is also still only B4. http://www.letusdirect.com/cart/letus-EX3-relay.html

He might be meaning in camera copying card to card? I "think" you can only do that clip by clip? I do that sometimes, moving over cranked clips from SxS to SDHC, to clear space for more overcranked shots.

The only difference for you would be size and weight, and the potential to use a relay lens on the EX3. The are a handful of relay lenses that work with the EX3, they reduce light loss, increase sharpness, and reduce weight and length. Without a relay lens, you will see no difference between an EX1 and an EX3. There is no camera that matches the EX in it's price range.

I don't think it can record one while outputting the other. Are you sure your monitor doesn't auto sense the input? Most modern ones do, my Flyer-LE does.

The offical Sony one is actually pretty dame good... http://pro.sony.com/bbsc/ssr/micro-xdcamex...roduct-LCEX3TH/

I'm pretty sure this is a mac issue. I have four adapters, all work perfectly in my HP laptop, three fail on a friends mac with much the same problems as you. The mac seems to lose connection to the media, then write trash files to it on reconnection, then the import software spits it because there are strange files on the card. If I take that same card which the mac has rejected and trashed, it still works perfectly on my HP. This might save you if you have access to one...

Sorry guys, mac compat didn't occur to me. I have a nice HP ready for it...

Remember though, you won't be monitoring the full HQ signal, it'll be HDV. 25Mbit 1440*1080. One thing I plan to try in the future is a new HD-SDI express card adapter recently released. http://www.imperx.com/frame-grabbers/hd-sdi-express With a decent laptop which has a quality screen, some realtime software waveform, scope, parade, etc, you'd have a handy tool. A portable production monitor that records and manipulates.

An EX3 is a light meter. It carefully measures photons, and then displays an appropriate luminance value on the viewfinder and/or on a connect monitor for each pixel. Seriously, the camera gives you all the information you need. Unless you have to pre-light a scene or check locations without a camera, you will have no use for a light meter. The EX3 has a spot meter and histogram available, two zebras, and the LCD has plenty of resolution even without a production monitor. Also, with so many gamma setting, curves, gain, etc, unless you plan to plot every single one of the thousands of combinations, it's far easier and quicker to just point the camera at the scene. The EX is 400ASA in progressive, and 800ASA in interlaced, with 10-12 stops depending on gamma settings.