Rob Featherstone

Hi thanks for the input. These are really helpful and thoughtful repsonses. It seems like having an operator or gaffer bump up is the way to go. -Rob Featherstone

Hi: The only way I can think of is to use the ps technik adapter with a 2x extender on the zoom (which would need to have a pl mount on it). And then you are at minus 4 stops or something like that. But it could be cool! Rob Featherstone

Hi. This may be a strange question but I thought this forum would be a good place to get some advice. My wife and I are having a baby sometime in June. This is our first child and one thing I am worried about is working around the due date, as I very much want to be a part of the birth experience. There must be other daddy dp's out there. What did you do at that time? Did you tell your clients your wife was expecting? Did you have a replacement on a hot standby? I certainly won't take long travel jobs but it could be awkward runnning out of a studio in the middle of a shoot! Any creative ideas will be greatly appreciated. Thanks Rob Featherstone

I figured it out. TCS in New York has Century Precision Optics Tilt Focus lenses. -rob

Hi: I am trying to achieve that shift and tilt look with my aaton xtr plus. I have tried 138mm diopters held at weird angles in front of my zoom but it doesn't really do it. I remember seeing a canon perspective control lens that had been retooled into a pl mount. And then I thought if there was a canon to pl adapter or nikon to pl adapter I could have a range of these still camera perspective control lenses that rent for $25.00 a day. Has any one seen such an adapter or know who rents the canon 35 perspective control lens in NYC? Thanks. Rob Featherstone

Hi. You can rent a diopter filter. They come in strengths from 1/2 to 3 and usually are 138 mm round filters. You can tape them onto the front of the lens and get closer focus than the lens normally provides. Just be careful with your taping! :rolleyes:

Aaton xtr +, s 16 with pl mount , canon 8-64 t 2.4, b &w video tap, sony mini monitor, timecode, 2 400' mags, 2 12 volt batts, 1 16 volt batt, abel ax3 charger, abel dx2 smart discharger, microforce, Hedein motor, Oppenheier panhandle, Chrosziel mattebox, Chrosziel ff, media logic speed control, Sachtler video 20 III tripod with two stage carbon fiber legs. 20+ filters. 3 a and j cases, 1 tuffpak case. Everything maintained by Abel Cinetech. Images at www.robfeatherstone.com/aatonforsale.html robfeatherstone@earthlink.net $28500.00

Hi. It sounds like your film was fogged somehow. I have had good experiences with pac lab in New York. http://www.pac-lab.com/ -Rob Featherstone

Thanks for the input. The image looked great there was just some softness to the text on the product. We did rack through the back focus and taped out the lens. So I am thinking the the softness was due to the aperture on the prime (1.3) and the grain from the ground glass. I do like the look you get from the adpater but I am interested if wide open digiprimes would give a similar effect. Or I will shoot with the primes at a 2.0 -Rob

When I was working as an ac I had this happen many times. I have also gone into a jammed mag (in the chaning tent of course) and pulled out spaghetti like film and rewound it on a core and sent it in to the lab. Also some mags (like arris) take up onto an air core so it shouldn't be a problem. But I would make a note on the can for the lab to see. -Rob

Hey: That's a good point! We were wide open. -Rob

I just got off a shoot where we used the sdx 900, pro 35 adapter and zeiss super speeds. We had a product shot with some relatively fine text on the packaging. The text never really looked completely sharp. Has anyone had experience with setting back focus with the 35 adapter? Or any isues with resolution and the 35 adapter. I think next time I will try digi primes. -Rob Featherstone