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Oliver Christoph Kochs

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About Oliver Christoph Kochs

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  • Birthday 03/06/1970

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    Film Loader
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  1. No, it does neither dual slot rec nor record additionally to the USB-C. I have the Video Assist connected recording ProRes LT at all times. Saved me twice.
  2. Hello fellow filmmakers, i have just finished postproduction on a music video shot on the BM4K in ProRes. The 1.8 was not out yet :-( Everything turned out great with the camera, except that i really need a EVF or at least a loupe for it. Some EXT scenes lack that extra bit of sharpness... Enjoy anyway! https://vimeo.com/99797397
  3. I put together some c-mount footage quite some time ago, maybe this still of interest: https://vimeo.com/87593499
  4. Novoflex is the best. The chinese adaptors have much play, but you can hard mount hem by using varnish or pieces of duck tape to filmly mount the adaptors to the lens mount.
  5. The C500 will be an awesome camera, no doubt. There will be cameras that can do more, but anticipating the form factor from the C300 shooting 4K RAW it will blow you away.
  6. Hello, removing the frame that sits on the top of the beam splitter prism will bring advantages. I did this on all my Bolexes (i shoot with). It prevents problems with the dust and smear in the viewfinder you describe. My cameras now have a "open gate" viewfinder that is easier to clean and allows easier framing (i.e. with a sound boom).
  7. You have to remove one cogwheel from the body. It has two small alignment pins.
  8. If you click on a link you have to post the address after http://webcache.googleusercontent.com/search?q=cache:www.
  9. Read here. The mirror site has also vanished it seems. You can still use the cached site functions to access the content but the work is tedious.
  10. Has a 58mm thread, so it only works with the smaller Canon lenses.
  11. You can use one of the ridiculously expensive ISCOrama lenses. These have a 1.5x sqeeze. Very good filming in HD for scope aspect ratios. Will work with 50mm lenses up on a 5D and 35mm and up on a 7D or similar APS-C sized sensors.
  12. Did you compensate for the beamsplitter light-loss? If your footage is all about one stop too dark that would be the reason.
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