Alexander Sutton Hough

I was also having same problem with my Sigma Cine which are based off the Art series. Though it won't help art series and only work with cine pl mount version. I am experimenting with diopters on the rear of the lens after hearing about what Arri is doing with the Arri signature primes with rear diopter to get a vintage look. Be really awesome if a filter company could make something to go on the front of any lens to accomplish this.

The Manfrotto Xume works! At least on my Red Gemini and Wooden Camera PL mount. I can use the magnet to hold different nets and fabrics in place. Also combined with a stepdown ring to 46mm the diopter gets very close to the sensor and able to adjust the back focus for plus 4 diopter and get a nice vintage lens look along with a net at the same time. The max I can go is 20mm and for plus 4 diopter it needs to go back as far as possible. I tested out a glimmer glass at 49mm screwed on to the back. At this size I can get more filters for cheap, and stay compact. But there are less available options than in 4x5.6 size. Tiffen says they do custom orders and I am waiting on quote for 49mm. Bought bunch of different fabrics and been testing them, this really opens up a lot more options to have a stylized look to these very clean and sharp lenses. Another note is the Sigmas PL Mount rear lens cap will not fit on these. I got Fotodiox PL mount lens cap and fits all this (also tried the Tokina PL rear cap and to short). The 50mm to 49mm was hard to find. This is the seller I bought it from. https://www.ebay.com/itm/384201182715?var=652426027644

On a standard pl mount there alot of space and I think it should work. The +2 diopter I had to remove the glass on a few others and use their metal ring as a spacer to move diopter closer to the sensor to get the back focus to work for infinity.

After hearing about Arri Signature Primes adding diopters to the back of the lens to give a vintage lens look I got thinking about how if you unscrew the back PL mount flange element on a Sigma Cine Prime it looks like a lens filter screw. Did some measurements and its 50mm and found a not very common step down adapter ring from 50mm to 49mm on ebay. It works! I can now add any 49mm filter onto the back of my sigma primes. The adapter from 50mm to 49mm is actually necessary to add little space and clear the lens from hitting a filter when focusing to infinity, some go back further than other. I have 14mm, 20mm, 24mm, 35mm, 50mm, 85mm, 135mm and this setup clears all of them. The back element I had to unscrew off its not super easy, not glued but sigma screwed them on tight, so they don't come off easy. Use caution. On really tights ones I removed the whole PL mount off the lens to safely apply force and not risk hurting the glass, also screws on the PL mount are delicate so lots of caution to not strip them. Once its loosen its easy as screwing and unscrewing any lens filter. Maybe pay a lens technicians to safely loosen them for you. Also I am playing around with some cheap diopters off amazon and with adjusting the back focus on my RED Gemini I am getting some really nice results of faking a vintage lens look. The Diopter is also acting like poor quality speed booster shirking my Full frame lens down little bit. Not sure what it would look like on a full frame. Next I'll buy diffusion filters to try since 49mm are a lot cheaper than 4x5.6 to experiment with. I can strip down a camera rig and still have a filter on my wide lenses that don't have a front filter thread, and play around with effect filters creating different effect being on the rear. Here is a link to images of this and my first test with rear diopters. There is examples of the 49mm +2 diopter compared to clean and 4x5.6 1/2 bronze glimmerglass. https://drive.google.com/drive/folders/1Zh8Sk0bKzt0GIFkuru_ToTQvO3pJuiyM?usp=sharing

My wife and I have been making a prototype softbox for LED tube banks. I have 4x 4ft Quasar science crossfade led tubes and when I put them into a bank they have ugly multiple shadows, unlike Kino Flo fluorescent tubes. I couldn't find a compact light weight solution so I decided to make one. Got this design idea after playing around with these. https://nanliteus.com/collections/accessories/products/nanlite-fabric-barndoors-and-grid-for-pavotube-30c-led-tubes https://nanliteus.com/collections/accessories/products/nanlite-pavotube-transparent-polycarbonate-t12-led-tube-mounting-clip-with-1-4-20in-receivers The diffuser we made for it are Lee 462 quiet light grid cloth and frost made from a shower curtain for being lighter than regular frost fabric. It gave me the least amount of light loss (15% loss) while evening out the multiple shadows into one. The box is made out of ultrabounce material because because I can't find ripstop with silver, and could get ultrabounce fabric cheap by the yard.

I am trying to figure out how strong of a haze machine I would need to fill the background of a scene. Will be in a 85ftx85ft space facing a three story warehouse, to camera right is a long one story wall, behind and to camera left wide open parking lot. If the wind is minimal that night what size haze machine would work in this space at night? I will be backlighting the scene with lights coming from the three story warehouse's roof. Or would a Fog machine work better? I am used to doing haze with a small hazer indoors.

Easier does not mean faster. For instance look at my aputure 300x lights in the photos above. There not as fast or easy to setup or as 650 or 1k tungsten. More pieces to put together and keep track of. But they are easier to use because they don't get hot and burn you. They don't use up as much electricity and can have more options with bi color and dimming with out needing to use gels and scrims and risk burning yourself. When packing up or moving them around they are not hot and you do not have to wait around to let them cool down. One aspect can be slower or little more complex to be more convenient or easier by over coming issue in the whole process. This can often save time, save money, prevent property damage or injury, or give more options. It's the over all use of a tool or a setup that needs to be accounted for in the whole process of a day when considered easier. Not strictly how fast it can be put on to a c-stand in the moment. And by your definition yes my setup is faster when I take in account the amount of trips needed to a grip truck or van as part of the initial setup.

I never claimed it was faster. Where did you get that from? It takes maybe a min longer than setting up two c stand and two floppy's. You can fit wag flags easier in a car and small vans than 4x4 floppy's and can use one c stand over two. The goal was to create less foot print in smaller spaces, less weight and gear needed to be moved around. It's pretty straight forward, baby pin and a gag. I don't think a crew will get so confused by it. Also the wag flags I can adust the height by rolling it up 6in sections. I can take off the fabric of a third wag flags frame and throw it on top of first two with a 6x6 silk in front and create like a big soft box. I can shove 4 of them in a small 4ft by 6in bag. So one trip from a car the wag flag bag and one sand bag in one hand. And the other hand a c stand and the gag with a baby pin in the grip head. You're method would take two c stands, two sand bags, and two floppy's. That could take two or three trips to a grip truck. Super versatile. Maybe not faster but opens up alot of options.

I looked at that but the double handle get in the way of the two wag flags.

I made this part. I couldn't find anything like it so I modified a Matthews Matth Gag to have a baby pin. Does anyone know if a grip item like this is being sold? Made it specifically for my new set up I have been working on with two modified 4x8 Ultra Bounce wag flags to work on one c-stand. I can use two modified wag flags closely together and have a compact set up alternative for 4x8 foam boards, cove lighting, and book lights while being more compact, easier to transport and setup in smaller spaces. Got 4 of these 4x8 wag flags made from canvas grip but had to cut the sewn side and put velcro. By doing that I can freely pull the fabric off and flip it around or slide it closer to another wag flag and limit a gap for light leak.

Thanks. I bought some disposal 108x54 black table cloths off amazon. Tested them out on my ceiling that has a super glossy popcorn celling and the worst for painters or gaffer tape to stick to. But got it to work, the table cloths are lite enough along with really digging in the painter tape into the popcorn celling to hold. It has been holding all day. My spot meter was getting 1/4 to 1/5 of the amount of light bounced off the white ceiling. Yeah not as good as Duvetine for negative fill but for the scenarios I need this for it will be extremely helpful.

What is an effective way to black out celling's in houses and apartments where space is not available to rigging over head frame. Want to be able to reduce bounce from glossy painted white ceilings.

We were both right and wrong at the same time.

Need to make another correction to that misconception. The sensors sizes are the same for photo. But video capture area of the sensor are completely different sizes. This video explains the difference. The GH5S captures the full width of the sensor while GH5 crops into the sensors so for video mode smaller sensor area.

Go with the GH5S if strictly for video. I have two and use them constantly. I also use them without batting eye along side my Red Gemini when a smaller camera is needed and with proper coloring or filmconvert couldn't even spot the difference unless you were really looking for it. Also if you get the Metabones T Speed Booster XL 0.64x combined with GH5S bigger sensor to the GH5 gets youre very close to the Red Gemini sensor size 1.149 crop factor in DCI 4k. Which is in between super 35 and full frame. Skintone and low light noise level is much better than the GH5 which I had for short period before it came out and did a doc with them as A and B cameras. Only draw back is lack of sensor stabilization. But if you get a gimbal that sensor in the GH5 moving around when IS turned off and when turned on fights the gimbal. Panasonic said thats why they took IS out because shows like Top Gear requested it where camera movement was to much and would fight the IS sensor. Also rolling shutter is amazing compared to all the other mirrorless and dlsr. Did a side by side test compared to my Red Gemini and fell behind slightly. Can't wait for a second version that can do 4k 60p 10bit 422 internal. Also my experience with black magic camera is they just die on shoots or defective. When I had the Ursa Mini 4.6k went through three one year. Black magic had to keep sending me a new one. Never had any luck with them. Also the Pocket 4k uses the exact same sensor as the GH5S that was developed by Sony. You will fall in love with 150mbps 4k 422 10bit for keeping files sizes down but still decent amount for coloring. Especially for documentaries or alot of content on low budget.