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Rob Webster

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Everything posted by Rob Webster

  1. Does anyone if rental houses in the UK have started to stock these lenses yet? Seen them online in a few places, but most the major houses seem to steering well clear. Any information would be much appreciated. Regards, Rob
  2. This just means the video tap isn't positioned correctly and can't focus the image. On the SRII's i have used you should be able to (carefully) shimmy the video tap unit (CCD) further in or out of the mechanism it fits into and this should focus the image. Likewise if the image rotates or shifts to one side on the moniter it just means the tap isn't aligned properly. Some minor alterations with the taps position should be able to fix your problem. Most probably just pushing it further in or out of the camera unit to focus.
  3. That was a typo, i rated the 250 as 120 :rolleyes: My bad. One of my lecturers at uni told me the same thing about pro-mists, that you don't need to compensate, but opening up a 1/3 usually helps to get the desired effect (especially if its being used for highlites)
  4. I shot a very similar thing recently on S16 (7205 250D) where we were in this abandoned military base, which had these huge 8 foot windows all the way down one side of the room. We were filming a scene with soldiers advancing slowly through the room, covered mostly in wides so you could see most of the room and the windows down one side of the frame. I wanted the windows and the highlights to blow out and have this "halo" or "blooming" effect we hear about so often so i rated 250 at 320, used a 1/4 black pro-mist (that i compensated for- about 1/3 stop) and had a partial skip bleach done on the neg (about 70%- as it went through the bleach bath on only one roller instead of all 4). So combining these techniques, i was over exposing about 1-1/2 stops with the diffusion and the effect was not anywhere as severe as i would have liked. On the set we were shooting around F4 or 5.6 and the windows read F11-F16, so i figured with the skip bleach and the diffusion it should definitely blow out and get a nice bleed around the highlights, but 1/4 promist was not enough. I could still make out details through the windows. Although i tried this again on the shoot a few days later but put some hampshire frost on the outside of the windows and up-lit it with a 2K and it worked much better. Big windows though-pain in the arse. To get this kind of effect from NOW on, i would make sure to light the windows untill they are at least 5 or 6 stops over and use a much heavier diffusion such as SUPAFROST 1 or 2, or a heavy black pro-mist (normal pro-mist tends to eat contrast and black is not as bad). So basically what im saying is- POUND THE LIGHT! USE AS MUCH DIFFUSION ON THE LENS AS YOU CAN- could even try a net? hope this helps.
  5. haha nice photo man. very dashing. Does the Chorzeil follow focus come with the plate and the bars as shown in your picture? Yeah i am using an adapter with the Nikons, which adapter do you use and how is it configured with the EX1 (as far as i can tell so far the lens is not removable, so how do you manage stops and focus etc)? What width are the bars you are using there? If they are 19mm bars they should work with an arri FF5 kit right? Obviously as long as the focus gear is adapted to fit Nikon. Thanks.
  6. Hi all, Just wondering if anyone know of any SIMPLE follow focus units that would work with an EX1 or an HVR270 (or preferably both), and will mount to a vinten pro10 tripod. I've seen the red rock but its a bit heavy for our production. I need something that will definitely work, with no attatchments, be easy to dissemble and move around and will also work with the gear ring on Nikon lenses if possible. Has anyone done this before? Know where to rent something like this in the UK? I've looked at loads of places but most of the units are too heavy, too expensive or will only mount on satchler legs. Any help would be greatly appreciated. Cheers guys. Rob
  7. Thanks for the help guys. So the V-lites used with s16 will have 4x the horizontal field of view as the equivalent s16mm lens of the same focal length and twice the horizontal field of view? Forgive my ignorance, did a shoot this week on s16mm with 35mm primes and we couldnt work out the equivalence becuase we had no 16 lenses to compare to.
  8. The Hawk V-Lites are designed for 35mm though? So how would that affect the apparent focal length when used with s16? Would they be 4x the focal length because of the format change and anamorphic squeeze?
  9. Simple question: Does anyone know if anamorphic lenses exist for super 16 (pl mount) cameras? I haven't seen any and im not keen on paying for 35mm anamorphic optics and then adapting them down to S16. Any help would be greatly appreciated. Thanks! Rob
  10. Hmm this is curious to me, as the person who i'm borrowing the adapter from has used Nikon lenses in the past with an EX1 and hasn't experienced any problems...perhaps i'll ask him exactly how it is calibrated. Perhaps his adapter has an image converter built in. I assumed because he said "adapter" it was just a standard mechanical fitting, but it could actually be something similar to the Pro35 or movietube.
  11. Hey All, I have an upcoming project where, due to budgetary reasons (grumble) we are being forced to shoot on the piece-of-crap "HD" (HDV) prosumer camera that is the magnificent Sony HVR S270E. http://www.sony.co.uk/biz/view/ShowProduct...y=HDVCamcorders This camera has a 1/3 inch standard Bayonet mount lens. I have a set on Nikon 35mm stills lenses which i want to use for the shoot because of the superior optical quality to the built in Zeiss lens that comes with the camera. I also have an adapter at my disposal that will allow me to mount the Nikon lenses to a Sony EX1 http://www.sonybiz.net/biz/view/ShowProduc...XDCAMCamcorders My question is, will the EX1 adapter be compatible with the HVR? If not, is there an adapter available that will allow me to mount my Nikon primes onto the HVR, and if so does anyone know where these can be bought or rented in the UK. Thanks for any help! Robin
  12. Thanks Karl, i'm pretty sure Newton Thomas Sigel processed kodak reversal in ECN-2 for Three Kings but i could be mistaken. The kodak reversal 7285 isn't too temperamental with exposure as far as i know, but i'm gonna try and get my hands on a S/E and test a bit now anyway if i can.
  13. Hey Guys, I am a second year film student at the Arts' Institute at Bournemouth, specialising in cinematography. We have a production coming up where i have been considering cross processing colour reversal in ECN-2, but we don't really have the budget or time to do extensive tests. I'm assuming the process will wield varying results with different stocks but as i say we are probably restricted to testing old vision 2 7218, 7205 or 7217 if at all. These tests will be largely pointless because i really want to shoot exteriors on 50D, so my question is has anyone tried this (or the equivalent 35mm), or tested anything similar, or have any tips for exposure, examples etc? Thanks, Robin
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