Boris Kalaidjiev

@Kyryll Sobolev That is so overwhelming, so much glass in front haha. @Dan Finlayson That was the other thing that I was going to say. If you have a widish lens 16, 20mm and a matte box you will need a lot bigger pieces of glass in order to cover bigger parts of the frame. So i think the chandelier spare parts might not work as well for wide lenses with matte boxes.

Hi Dan, Yeah I know about Prism Lens FX but I sort of thing it’s not with they’re hand held diopter or kaleidoscope. I feel that hers are a bit more subtle in a way. Any other ideas or suggestions? ive been thinking of going to a glass shop and asking them if they can custom create glass with different thicknesses. For ex a piece of glass that’s 10x4cm and on one end the glass is 1,2mm thick and on the other end it is 5,6mm with a bit of a curvature (to have a lens effect). Something similar to the kaleidoscope effect but simpler.

Hello, I am wondering how this was done? I believe or would like to believe that it was done in camera. I think the photographer used some sort of prism, glass in front of the lens but I am curious as to what type? I know there are kaleidoscope type of filter glass that you can play around with in front of the lens but the effect here is done a lot more subtler than that. Any ideas as to what sort of glass was used or what I should start to play around with to get a similar effect (maybe break my grandmothers old chandelier and see how that looks in front of the lens haha)? Thanks! P.S the photographer has some really good work you can check her out on IG @xenichez

How much is the Clairmont/Century Precision Swing and Shift set?

What is your asking price?

Hi everyone, Is there a way to use 35mm lenses on a S16 camera (with a PL mount) and have some sort of a speed booster that shrinks the S35 lenses to correctly cover the S16 camera (416, SR2/3, Aaton XTR). I know that if you add a convertor to a PL camera and you want to attach PL lenses you wont have the correct flange lens flange distance anymore, but is there a way around this? If there is, wouldn't this open up a huge number of lenses to be correctly used for S16 and also you will probably gain 1 stop of light which would be very useful for film.

Hello, I have an XTR Prod that I am slowly getting into shape to shoot a project on it. Right now I am practicing on loading it with some dummy film. What I noticed is that the display on the Aaton would display a slight change in the frame rate, it wont be a constant 24fps. Sometimes it will go up to 24,13fps | 24,15fps or drop down to 23,90fps | 23,88fps for a few frames then it will go back to 24fps. I noticed it happening over the course of 2min it went a little be bit over 24 fps twice and it went under twice. Is this normal? Wouldn't longer takes that have audio go off-sync? This is a video of the display when it goes over or under. https://vimeo.com/722847698/f7dc39eec9 00:12 - 23,90fps 00:17 - 23,90fps 00:33 - 24,13fps 00:53 - 24,15fps 01:17 - 23,88fps Here is one screen grab of when it drops the frame rate. Thanks!!

Could the LPL - 44m flange distance be because: 1) They need the space to clear for optical low pass filters or infrared filters etc? 2) Having a longer flange distance will make room to design a bigger and stronger lens mount to support heavy cinema lenses?

I am based in Europe, Bulgaria. I have a XTR Prod with a VR46 Color video tap. That should work, right?

Hi everyone, I was wondering why did Arri transition from PL - 52mm to LPL - 44mm? I get that with the LPL mount has a wider diameter 62 mm vs 54 mm for PL and can cover bigger sensors. But why did they keep the flange distance at 44mm and not bring it closer to the camera since the LPL mount is only meant for digital cameras and there is no need to provide space for a mechanical shutter? Optically speaking isnt it harder to design lenses for longer flange distances compared to shorter ones? Sony E-mount has theirs at 18mm at can easily cover FF sensors.

I am also looking for one. Any ideas anyone?

Looking forward to it! Have you fitted a different camera inside or is it the same camera with a different housing?

Hey guys I am in the same boat right now!! I have an Aaton XTR Prod and I am trying to convert the signal with a Black Magic Analog to SDI convertor so that I can use all my other monitors and wireless video systems. I've been banging my head against the wall for the past few days not understanding why this was not working. I was sending a Composite signal (from the Aaton) to my Analog to SDI convertor to an Atomos monitor (Shogun Flame & Ninja V) and it wasn't working. Thankfully I came across this thread and understood that the SDI Signal was SD and then slowly read and understood that most modern monitors nowadays don't support SD SDI, WHYYY???? I also checked my Teradek 4k specs and it only accepts 576i over HDMI and of course that is also not helpful because my output from my convertor is a bnc connector :(((( Have you guys found any workarounds? I really dont want another box on my camera upscaling the SD SDI to HD SDI!

Come on you didnt mange to make it work with your Aaton hahah?