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Kyryll Sobolev

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  1. yes pana here has that T stop reading device, and i have seen the tech here restripe lenses with tape and marker i should rephrase my question to more organizational aspect - if you have many various lenses, do you select some to act as "base" lenses, and match others to them (if the lenses actually do give different readings)
  2. greg, with many different lenses selected for a final package, how do you go about making sure the iris markings/T stop readings are consistent for the DP? i have seen people re-stripe a few lenses which give a different reading than most other ones in the kit... and i'm on a show now where we have atlas orions and panavision T series anamorphics. the T series are consistently darker than atlas, at same T stop reading on the barrel
  3. yes i am sure there was endless experimenting with something like this from amazon jeremy benning, DP for "the expanse", recently shared another funky filter that he thought of. in his words, it is "a custom filter sandwich that incorporated green glitter floating in mineral oil and smeared with green-tinted Vaseline and lit with an LED light internally to create variable sparkles" you can watch the effect here: https://www.facebook.com/watch/?v=1639128986296082 (i think he only posted it to facebook)
  4. from markus's website we can see what it looks like. no idea what that adhesive film is though https://www.markusforderer.com/spectrum-filter 39aef2_8e7c31086a9d4e9daf5ce37a3c405217.webp
  5. i wonder if we can find more bts photos that would be clearer what is in front of the lens looks like a glass or prism on a 114mm diopter attachment in front of the lens
  6. i didn't see this thread earlier i dealt with this issue in 2017 with my c300 mk i. the problem is that the internal battery naturally wears out over time. it is replaceable on the mk i version, but not later versions. next issue was that canon stopped manufacturing the replaceable battery, and had a new PCB board with a permanently wired battery (like the newer versions). i believe at the time they charged something like $500 minimum to open up any cinema EOS product. but they sold me the PCB assembly board for $40 with a screw driver and a few beers i took out the old assembly an
  7. you can also get a second wireless hand unit and use the wheel to control the zoom - it would be more intuitive for fine adjustments, and you can place marks on the wheel to time the zoom properly. additionally, it would help with what satsuki mentions about apparent zoom speed, because you can slow down the zoom at the tighter end with more precision you would need another person doing this (not operator or 1st ac)
  8. he is just describing the projection process in the theater - projected film light bounces off the screen (sheet) and into audience eyes
  9. phil, are you asking about the lens or the artistic tools? i had to look up what the crystal dome is
  10. setting up the tools for the artist to work with 🙂
  11. i have not used wcu4 for that purpose. in theory, yes that is how it should work, but i don't know for sure. do a test before you shoot.
  12. you can use a preston microforce, or radio microforce for wireless option (but you need an MDR for that, so basically renting an entire preston kit)
  13. for stubborn lenses/motor/rod combinations, i have used an elastic band - wrap one end around the motor bracket, wrap the other end somewhere to the camera (evf rods), so the elastic bands are constantly pulling the motor into the lens
  14. tighten the motor lock to the rod, and tighten the rod lock at the camera body either one of those, or both, are loose enough to allow disengaging otherwise, gently hold the motor to the lens while calibrating, to physically not allow it to move away from the lens
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