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Asking $60 plus shipping or best offer This is a Tele-Finder Optical System and rear eye-piece with rubber eye-cup for Auricon Pro 600. This finder optical system plus tele-finder objectives on lens mount (single lens, or 3 lens turret) provides a 10X magnified "rifle-scope" type view-finder for telephoto lens picture taking. Due to its age, the unit is being sold "as is"

I'm writing an essay and comparing optical artefacts between different lenses in different price ranges. Being able to compare these requires me to determine what a desirable result is and what an undesirable result is. Logically an artefact is a defect so it should be undesirable, but as well all know lens flares are a commonly used artefact in movies. Is there a way to determine what a good "lens flare" is?

Hello everyone, I have researched online and can't come to any solid conclusions about how sound design and/or mixing is done when you're working optically. For instance: I'm making a movie and seriously considering taking it the full photochemical route, ie. shooting on 35mm scope, processing the film at Fotokem, getting a work print made (no DI), cutting the film on a flatbed, conforming the negative, timing the answer print, and striking a release print. The idea is to keep my movie completely off a computer. But the thing I can't seem to wrap my brain around is the audio part of the process. How do I sync the separately and digitally recorded dialog to my work print? How do I mix in the music I want? Most importantly, the sound effects? I tend to have substantial sound design in my films, sometimes 150 tracks or more, and spend around 80% of my post production process on sound. Is there a way to do this optically? Should I just go with a DI? I hear a lot of terms like sepmag, and 35 sound mag, but I'm not really sure what they are or how you edit with them. Thanks in advance for your help. Colin