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Sean Cunningham

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About Sean Cunningham

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    Pixel Cowboy

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    Male
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    Austin, Texas
  • Interests
    visual effects, animation, anime, photography, filmmaking, movies, cars (Euro, sport compact, touring, classic Mopar)

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    http://www.imdb.com/name/nm0192445/?ref_=fn_al_nm_1

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  1. For inexpensive but totally effective there is the Digisix 2. It's maybe the cheapest contemporary meter that's professional quality. Only $159.99 now: http://www.bhphotovideo.com/c/product/918762-REG/gossen_go_4006_2_digisix_2_light_meter.html
  2. This may be common practice for amateur anamorphic enthusiasts but it's not true for most cinema. There's a variety of reasons for it...guessing, not doing research and then the mechanics of adapting lenses designed for much smaller cameras than they're using, which are, even in the case of the 5D, shooting to a format that's smaller than that used by a cinema camera when paired with anamorphic lenses (unless you're shooting ML and to a 4:3 format you're cropped and shooting to a smaller format than anamorphic 35mm).
  3. In the ACM piece they seemed to have plenty of light at the hotel. Massive inflatable diffuse sources hanging overhead. I'll have to go back and look at it again to see if they mentioned any technical issues encountered. Having a "digital-y" artifact would be really out of character for Wes Anderson given the pains everyone had to take on Steve Zissou for the digital post to either be completely invisible or have a hand-made, crude look to it. He pretty much forbid motion blur, etc.
  4. I've yet to see it. But I'm pretty confident it's a shuttering thing. It's not present in every shot, right? I've seen the trailers online, on television and at the theater and there are a few shots in there where I know there's some kind of horse-hockey going on with shutter smear, either in-camera or post. It's most noticeable in the scene with the nose punch. My initial thought from the trailer is perhaps this was a poorly done post enhancement to an off-speed stunt, speeding up footage and doing a naive frame blend but it sounds like this look appears elsewhere? It looks like what
  5. Softness, chromatic and edge softness are the traits associated with most classic anamorphic lens families. Read almost any interview with an A-List DP working in the medium and they're often making their selection based on these "artifacts" as a conscious decision, counting them as a positive. All of the things enthusiasts and amateurs and bench engineers routinely poo-poo in "affordable" adapters, ironically. The term "sharp" is also a more or less relative term when you're talking anamorphic. Look at the chart tests found elsewhere here on the Iscorama 54. Compared to the shittiest
  6. Still, the quoted part above is conflating the entirely different issue of hypothetical eyepieces with the subject of the thread, which is thorium in certain classic lenses. This same site raises the issue but also puts it in perspective, the part he's leaving out because that's not compatible with the hysteria he's trying to create. Given that we don't hold the lens up to our eyeballs and shoot pictures out our butt holes the OP is trying to make a fairly known issue into a bigger hazard than it actually is. Respecting these lenses and being mindful of their peculiarity doesn't impose any
  7. Oh, so somehow these lenses have magical properties such that alpha particles behave differently than in any other situation. Riiiiiight.
  8. If the viewfinder isn't made of thorium glass, which it won't be, everything bolded is not correct about what you actually are getting. Why? Because alpha particles aren't penetrating the lens barrel to radiate you through the side of the lens and they aren't penetrating through the camera and coming out the back or through the camera and through the eyepiece optics. It's not happening. If alpha particles can't penetrate a piece of paper they aren't passing through multiple layers of metal, plastic and glass.
  9. Now, if only we can get a fear-monger campaign going that convinces people the Iscoramas are radioactive...
  10. Oh, and Thorium 232, if that's in fact what's involved, a single sheet of paper shields you from alpha particle decay, even very energetic alpha particles. Since you aren't holding the lens itself to your eye but you have a camera body and all kinds of materials and surfaces between you and either the rear or front element you're shielded. If it's got front and rear caps on, you're shielded. If it's in a box under your bed, you're shielded. If it's wrapped in paper and tucked under your pillow, you're shielded. Even if it were a different variety of Thorium that gave off beta particle
  11. Look around where you live and work each day. Are your walls white? There's a fair chance you're being irradiated by the titanium in the pigment in the paint, depending on the source. And anything else painted white or with white pigment. Back in the '80s and '90s my dad worked as a chemist. One of his last jobs was as a pigment specialist for this company that, among other things, made an alternative to the titanium-based white pigments used in everything from paint to plastics to food. He came home rattled one night because while the company tried to sell customers their product the
  12. Yeah, real world shooting will be more forgiving. The Mitakon looks pretty good relative to the Metabones. Being softer isn't necessarily a bad thing in some cases. It's like a focal reducer, stop booster and OLPF all in one!
  13. The only attempt so far, that I can find, of a comprehensive look at these adapters relative to the more expensive MB offerings: http://www.dpreview.com/forums/thread/3627547#forum-post-53156458 ...of course, charts don't tell the whole story. Just ask the Helios 44.
  14. 35mm would be a general expectation but it's going to depend on the particular camera and the particular lens. For instance, the 20mm LUMIX is rated as compatible for MFT but may or may not work with the GH2, I don't have any specific references to this combo being tested on hand, but I know using the LUMIX 14-42mm zoom I couldn't be wider than 24/25mm without vignette. The 1mm difference between the GH2 and GH3 is magnified once you throw a Speedbooster into the equation. The MFT mount covers a variety of sensor sizes (as does APS-C). Some of them + Speedbooster end up being almost S
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