Baltasar Thomas

Thanks Attila, sent you an e-mail.

Hi, I'm looking to buy a S16 Zoom, preferably in Aaton mount. Other mounts might work out as well, as I have the option to convert my Aaton to PL and Arri-S adapters are available. However, I'm not sure I'm able to cough up the current market value, therefore I'm interested in wide-angle primes that cover S16 as well. I'm located in Europe. Please let me know if you have anything that might fit this need and are looking to sell. Thanks!

For anyone interested in this topic in the future, I did a little test to find out the latency of the Blackmagic Micro Cinema Camera through HDMI and compared it to a GH5. All tests were run at 25 fp/s. I ran a timecode window in Premiere Pro for 30 seconds for each test and filmed the iMac monitor and my Portkeys BM5 monitor placed next to each other, so I could read the difference in frames between the actual timecode and the signal sent from the camera to the Portkeys monitor through HDMI. Afterwards, I repeated this process with a Small HD 502 Bright monitor, to see if an ind

Thanks for the heads up! Yes, I was mostly thinking about post. 🙂

I'm looking at this one for my LTR as well. I can't really think of any downsides, I use M42 full frame stills lenses on my LTR as well and those produce excellent results.

Good point AJ! That would have been an added bonus with any of those EVF's I mentioned. It seems strange that Portkeys didn't implement it with the new and very well priced LEYE. I have had times with my Aaton (it's an older model without video assist) where a monitor would have made things a lot easier. However, most of the times the viewfinder was sufficient. Right now, I figured I would just pack my 5" monitor as well, just in case. So Blackmagic camera's have minimal delay as well? I wonder if the older model BM Micro Cinema Camera has a lot of delay through the HDMI. That sen

Thanks for sharing AJ. Well, latency is the main thing. Brightness, resolution, size, 3D Lut support, input signals, these count as well. But the affordable EVF's that I'm looking at seem to have those covered quite well (yet to try them out though). I'm looking at the Portkeys OEYE, the Portkeys LEYE and the ZCAM EVF.

Hi, I'd like to try and get as close to replicating the experience of operating through an optical viewinder on a budget. Monitors aren't doing it for me. There's a view affordable EVF's on the market now that might do the trick, but mirrorless or other budget cine-oriented camera's often have too much latency. It bugs me, definitely for documentary-type work. From what I've gathered, any delay lower than 100ms is not perceivable. I was wondering if anyone knows of a resource that lists camera's with sub 100ms latency. Testing will prove what works, but there's just so much to try

If you use the Shape shoulder pad, aren't you able to attach 15mm rods to the back? That would allow for some mounting options to the bottom of the rods. Other options that come to mind are adapting your LTR to take v-mount batteries, or wearing a battery on your belt. The base of your LTR looks modified and huge, what is that? Looks peculiar! It protrudes into the section where your shoulder normally goes.

Like David has pointed out, you only need a grid really. However! I do have a chart that was kindly sent to me by forum member and Senior Technician/Designer) at Visual Products @Paul Scaglione. I'm sure Paul does not mind me sharing, PM me your email and I'll send it over :).

Willem, hit me up if you need help - I have experience in both Resolve and Premiere Pro. Personally I don't see the need to do anything frame by frame. In your NLE, change the resolution of your timeline to the resolution you would like to finish your project in and fit/frame/crop the content you place in the timeline to your liking. Very curious to see more frames of your short btw!

Hi Scott, thanks for the offer, I'm already a proud owner of one of these by now though ;)!

I can recommend Onno Petersen in Amsterdam: http://www.onnopetersen.com/digitaliseren/index.html.

Just wanted to chime in and say: excellent work Sam. This is something that could be quite a game changer for those among us who process at home and/or are part of small, independent film labs. Lomo tanks are great, but very fragile and expensive because the are scarce. The bakelite tanks break easily and the spirals can't withstand heat very well (if you use homebrew drying constructions). If the design could be extended to tanks and different sizes, I would not only print them, I would purchase them. And I don't think it's hard to offer reasonable prices compared to 100ft Lomo tanks.

Hi Satsuki, thanks for taking a look. I was afraid that it might be light coming through the eyepiece. I read about the possibility of that happening last week, but I was definitely unaware during shooting. I actually remember taking my eye of the eyepiece a few times during the making of this film, there's a lot of fixed shots so I felt confident to look around for a bit at times. I was very careful while loading and unloading the magazines so I would be very surprised if that would be the problem. All the film was fresh stock. Yes, I agree, I suspect it's too far gone to save th