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David Hessel

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  1. SONY SRW-9000PL with all three optional upgrade boards (HKSR-9001 / 9002 / 9003) and PL lens mount transforms this camera into an ENG-style Sony F35. This camera has the exact same sensor and image as the F35, only better portability as the interface box, shoulder mount, and HDCAM-SR recorder are all built into the body on the SRW-9000PL. - Super 35mm-sized CCD (Global shutter) - PL Lens Mount - 1080p - 24p, 25p, 29.97p, 50p - 10 bit 4:4:4 - S-Log/S-Gamut Color Space - ISO 800 Mode Gamma Curve - HD-SDI Output (dual link or 3G for use with an external recorder) Includes: - HKSR-9001 (HD-SDI Expansion Board) - HKSR-9002 (Picture Cache Expansion Board) - HKSR-9003 (RGB 4:4:4 Processor Expansion - Sony SRK-CP1 (same control panel as is found on the Sony F65) Location: Colorado Sony SRW 9000 PL with all option boards: $2500 OBO Sony HDVF C30WR: $500 OBO Sony ECM-678 Microphone: $350 OBO Sony SRW-1 and SRPC-1: $250 OBO Sony SRW-1 and SRPC-1: (Has NVRam Error, probably dead internal battery that needs to be changed - I will include this free with the other SRW-1 set): $150 OBO Power-U 190watt V-Mount Battery and charger: $100 OBO Kona 3g SDI capture card with breakout cable: $400 OBO 13 x 33 minute HDCAM-SR tapes (3x individual and a box of 10): $20 each, $200 for all OBO 2 x Sony AC-550 AC Adapters works for the SRW-9000PL and SRW-1: $50 OBO Flight Case for 9000PL: Free with camera, just pay shipping Flight Case for SRW-1: Free with SRW-1, just pay shipping $4200 for everything but I am will to sell some parts individually or just parts of the entire set. https://imgur.com/a/3xxTKmr
  2. Bridge plate sold but rods and dovetail still available. Dovetail $300 OBO Rods $120 OBO
  3. Location: Colorado Use ARRI's BP-8 Bridge Plate Kit to balance your camera and to support 19mm rod-based accessories. The kit consists of the BP-8 sled, a 12" bottom dovetail plate, and a 17" pair of 19mm support rods. Directly compatible with the ARRI ALEXA Studio, the Sony F65, and the Phantom Flex4K, the BP-8 Kit can be adapted for use with the ARRI ALEXA Mini, AMIRA, and many third-party cameras (adapters available separately). ARRI Bottom Dovetail Plate (12") This 12" Bottom Dovetail Plate from ARRI is used with a sliding bridge plate or sled to balance your camera rig. To prevent the bridge plate or sled from sliding off, the Dovetail Plate features a spring-loaded post on one end and a stationary stop on the other. The bottom of the plate incorporates 3/8"-16 threaded holes for mounting the dovetail to a tripod quick release plate or other support. Use with a sliding bridge plate or sled to balance your camera rig (plate or sled not included) Includes a spring-loaded post on one end, and a stationary stop on the other to prevent the bridge plate or sled from sliding off Bottom of dovetail includes 3/8"-16 threaded holes for mounting to a tripod quick release plate or other support ARRI 19mm Rods (Pair, 17") This pair of 17" ARRI Support Rods feature a sturdy steel construction, designed to support heavier loads. Use them with any 19mm-based accessory or bridgeplate. Hollow, sturdy steel construction with non-threaded ends Compatible with any 19mm-based accessory or bridgeplate Price New: $1620 The item is in very good, like new condition. Pictures of the item are available upon request. Thanks. Price: $1000 O.B.O
  4. I am unable to edit the post but the Arri-BP8 base plate was mistakenly added to this listing, it is available but not included at the listed price. Thanks.
  5. SONY SRW-9000PL with all three optional upgrade boards (HKSR-9001 / 9002 / 9003) and PL lens mount transforms this camera into an ENG-style Sony F35. This camera has the exact same sensor and image as the F35, only better portability as the interface box, shoulder mount, and HDCAM-SR recorder are all built into the body on the SRW-9000PL.- Super 35mm-sized CCD (Global shutter)- PL Lens Mount- 1080p- 24p, 25p, 29.97p, 50p, 60p- 10 bit 4:4:4- S-Gamut Color Space- ISO 800 Mode Gamma Curve- HD-SDI OutputIncludes:- HKSR-9001 (HD-SDI Expansion Board)- HKSR-9002 (Picture Cache Expansion Board)- HKSR-9003 (RGB 4:4:4 Processor Expansion Board)- Sony SRK-CP1 (same control panel as is found on the Sony F65)
  6. Sony SRW 9000 PL with all option boards and AC power supply Sony HDVF C30WR 19mm Arri BP-8 Baseplate with Rods 2 x Sony SRW-1/SRPC-1 (one set is fully fuctional the other set has a SRPC has a nvram 0103 error, it still works for playback and capture the only issue I have noticed is that remote deck control from a PC comes and goes about once a second, both SRW-1 decks are fully functional) Flight Case for 9000PL Flight Case for SRW-1 Kona 3g sdi capture card with breakout cable 13 x 33 minute HDCAM-SR tapes You can capture directly from the camera but I choose to use the SRW-1 to distribute use of the hdcam decks. The camera does have a 3G sdi out and can send record trigger signals without tape in the camera, I have never tested with an external recorder though. https://imgur.com/a/3xxTKmr Price: $5000
  7. For sale is a Lomo Foton Anamophic Squarefront Zoom focal length of 37-140mm in PL mount that was serviced a year and a half ago by Olex Camera and has seen little use since. Also included is a Lomo 0.8M diopter. Located in the US. Glass is clean and clear with only minor blemishes, nothing out of the ordinary or unusual for a lens of this age, overall it is in very good condition. Thanks. https://imgur.com/a/osr8xq1 $6000 OBO
  8. No they are the same. The micro 4/3 may have less light coming in overall but it has the same amount of light relative to the surface area of the sensor as the full frame setup. Another way to look at it is the F stop is the density of light produced by the lens, different lenses on different formats may have different amounts of light coming in but the denisty of light at the sensor/film plane is the same if the F stop of the lenses have is the same.
  9. The taking lens for the Iscorama is meant to be at infnity always so it is set to Infinity focus with no focus ring. There is no point in having a focus ring on this lens since the the focusing is all handled via the anamorphic front. If it is not focusing at infinity then either your camera/mount adapter is out of spec or the lens needs to be collimated. The thing is anamorphic lenses like these require proper collimation, the anamorphic front and taking lens must be focusing in synch to get a sharp image. The front anamorphic block is set to infinity and is focused using a variable strength diopter infront of the anamorphic block, the taking lens must also be set to infinity to get a sharp image. I have don't know how to go about adjusting the focus on that lens but it will be difficult without a collimator. This is probably a job for a lens tech but if you want to try yourself you can make a DIY collimator using an old film camera. I did this a while back to fine tune the adjustmens for a anamorphic lens that I have. First I attached a lens to an old film camera and focused to infinity using the VF. Next I locked the focus at infinity so I could no longer change it by accident. Then I removed the shutter leaving the hole where the film would be exposted. I then made a focus chart using a printer and mounted that behind the hole where the film would be. I mount this camera and lens on rails infront of the lens I want to adjust that is attached to another camera so I can view its output. The cameras are setup so that the lenses are face each other. Last I placed a light behind the film camera with the film door open. You just look at the output from the camera with the lens you are adjusting and adjust the focus until you have a sharp image of the chart at infinity. This is definately not the most accurate way of doing it but was the best DIY solution I could readily come up with.
  10. First if you convert 12 bit to 10 bits you end up with 10 bits of data. The bit depth determines the number of values a color channel can store so 12 bit has 4096 possilbe values and 10 bit has 1024 possible values regardless of whether it is log or not. The logic for storing visual data in a log curve, as I understand it, is the eye doesn't respond to increasing brightness of light in a linear way. Roughly speaking an object that has 4x times more light hiting it will only appeear to be about 2x as bright. So as the visual brightness of an object increases it takes more and more change in scene illumiance to cause the same relative increase in brightness. If you store data in a linear way you end up in a sitiation where it takes ever larger value changes in the data to create a visual differences in the image or to put it another way the brightness of the image is much more sensitive to changes when the pixels are dark and much less sensitive to change when the pixels are light. The other option is to encode the data in a logrithmic way that more closely matches the way the eye responds to light. In this way a change in data values will have a similar change in visual brightness for both light and dark pixels. So if you take a pixel and change the value by 2x visually the pixel will appear 2x brighter as well. Encoding colors this way allows the limited number of possible values to be more efficently and evenly allocated.
  11. As an owner of a 9000PL, I can confirm that the SRW 9000PL does have slog/sgamut. It has the same sensor and therefore pretty much the same capabilities as the F35. It has some advantages like a better form factor for shouldering. It is much smaller, lighter and less power hungry compared to the F23 or F35 when paired with the SRW-1. It has 3g sdi out so you have more options for external recorders since you don't have to use dual link. Really the onlly downsides are you loose the 12bit and while being smaller than the F35 with the SRW-1 it is larger than the F35 without. There are some other nice things as weil, it can send sdi record trigger, activate tally's and auto fans without tape in the deck which is not as easliy acheived with the F35. While this ability was added specifically for use with external recorders, I do not know if the modern external recorders will detect those sdi trigger signals or not - never tested. The 9000PL does seem to have some improved processing going on internally as well. I previously owned a F35 and the 9000PL appears to have less noise and I feel am able to push the image further than I was able to with the F35, at least one stop (probably 2) with similar noise levels. This is purely subjective though, I don't have any tests that I can illustrate this since I no longer have the F35 but the specs do mention inproved processing and the camera has ISO800 gamma mode that the F35 doesn't have which I feel is related.
  12. Check out Olex services webpage, he services lenses in the Ukraine and specializes in Limo lenses including anamorphic. I believe he has diagrams for just about every lomo anamorphic lens ever made in his site.
  13. First of all the amount of data for 16 bit is 65535 values per channel regardless of whether it is raw or not. Technicallly 16 bit 4:4:4 has more data since it has 3 channels per pixel (RGB) where raw only has 1, making it 3x smaller. I order to grade raw footage it would be debayered into 16 bit 4:4:4 making it identical to uncompressed with everything else being equal. 1.) As stated above they contain the same number of data points. 2.) In a way yes, that is what you do when you grade footage. If your footage has a high dynamic range and you are displaying in on a with dynamic range you can grade the footage to try and fit all the dynamic range in. Camera sensors are designed to only capture what is in the visible spectrum. There really isn't anything in the image that you can't see like the LANSAT system you describe above. I believe the only spectrum most digital cameras can capture a little bit of that we cannot see is infra red.
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