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  1. Like
    see ya got a reaction from nahua in Learning to repair lenses...   
    Yes very helpful friendly members there, frequented the site for many years.
     
    Here's a SMC Tak breakdown, scroll down below the Canon FD bit:
     
    http://k10dpentax.blogspot.co.uk/search/label/Repair
     
    And a short list ;-) of links to repair breakdowns and such:
     
    http://www.4photos.de/camera-diy/index-en.html
     
    Have you also tried pentaxforums?
     
    http://www.pentaxforums.com/forums/54-pentax-lens-articles/179912-pentax-k-28mm-f3-5-disassembly-cleaning.html
     
    Biggest contention I've found over the years has been what sort of lubrication to use for smooth focus and I settled on this, which has worked well:
     
    http://www.ebay.com/itm/HELIMAX-XP-Camera-Telescope-Optical-Instrument-Focusing-Helicoid-Grease-w-PTFE-/271052175856?clk_rvr_id=631740458361&afsrc=1
  2. Like
    see ya got a reaction from nahua in Learning to repair lenses...   
    This site is excellent for info on manual lenses and has good info on care and repair, getting a basic toolkit together and all that.
     
    http://forum.mflenses.com/equipment-care-and-repairs-f6.html
     
    http://forum.mflenses.com/basic-techniques-to-repair-lenses-and-cameras-t32862.html
  3. Like
    see ya got a reaction from William Guy in Learning to repair lenses...   
    Yes very helpful friendly members there, frequented the site for many years.
     
    Here's a SMC Tak breakdown, scroll down below the Canon FD bit:
     
    http://k10dpentax.blogspot.co.uk/search/label/Repair
     
    And a short list ;-) of links to repair breakdowns and such:
     
    http://www.4photos.de/camera-diy/index-en.html
     
    Have you also tried pentaxforums?
     
    http://www.pentaxforums.com/forums/54-pentax-lens-articles/179912-pentax-k-28mm-f3-5-disassembly-cleaning.html
     
    Biggest contention I've found over the years has been what sort of lubrication to use for smooth focus and I settled on this, which has worked well:
     
    http://www.ebay.com/itm/HELIMAX-XP-Camera-Telescope-Optical-Instrument-Focusing-Helicoid-Grease-w-PTFE-/271052175856?clk_rvr_id=631740458361&afsrc=1
  4. Like
    see ya got a reaction from dahlfors in Learning to repair lenses...   
    Yes very helpful friendly members there, frequented the site for many years.
     
    Here's a SMC Tak breakdown, scroll down below the Canon FD bit:
     
    http://k10dpentax.blogspot.co.uk/search/label/Repair
     
    And a short list ;-) of links to repair breakdowns and such:
     
    http://www.4photos.de/camera-diy/index-en.html
     
    Have you also tried pentaxforums?
     
    http://www.pentaxforums.com/forums/54-pentax-lens-articles/179912-pentax-k-28mm-f3-5-disassembly-cleaning.html
     
    Biggest contention I've found over the years has been what sort of lubrication to use for smooth focus and I settled on this, which has worked well:
     
    http://www.ebay.com/itm/HELIMAX-XP-Camera-Telescope-Optical-Instrument-Focusing-Helicoid-Grease-w-PTFE-/271052175856?clk_rvr_id=631740458361&afsrc=1
  5. Like
    see ya got a reaction from Julian in Learning to repair lenses...   
    Yes very helpful friendly members there, frequented the site for many years.
     
    Here's a SMC Tak breakdown, scroll down below the Canon FD bit:
     
    http://k10dpentax.blogspot.co.uk/search/label/Repair
     
    And a short list ;-) of links to repair breakdowns and such:
     
    http://www.4photos.de/camera-diy/index-en.html
     
    Have you also tried pentaxforums?
     
    http://www.pentaxforums.com/forums/54-pentax-lens-articles/179912-pentax-k-28mm-f3-5-disassembly-cleaning.html
     
    Biggest contention I've found over the years has been what sort of lubrication to use for smooth focus and I settled on this, which has worked well:
     
    http://www.ebay.com/itm/HELIMAX-XP-Camera-Telescope-Optical-Instrument-Focusing-Helicoid-Grease-w-PTFE-/271052175856?clk_rvr_id=631740458361&afsrc=1
  6. Like
    see ya got a reaction from dahlfors in Learning to repair lenses...   
    This site is excellent for info on manual lenses and has good info on care and repair, getting a basic toolkit together and all that.
     
    http://forum.mflenses.com/equipment-care-and-repairs-f6.html
     
    http://forum.mflenses.com/basic-techniques-to-repair-lenses-and-cameras-t32862.html
  7. Like
    see ya got a reaction from Julian in Learning to repair lenses...   
    This site is excellent for info on manual lenses and has good info on care and repair, getting a basic toolkit together and all that.
     
    http://forum.mflenses.com/equipment-care-and-repairs-f6.html
     
    http://forum.mflenses.com/basic-techniques-to-repair-lenses-and-cameras-t32862.html
  8. Like
    see ya got a reaction from William Guy in Learning to repair lenses...   
    This site is excellent for info on manual lenses and has good info on care and repair, getting a basic toolkit together and all that.
     
    http://forum.mflenses.com/equipment-care-and-repairs-f6.html
     
    http://forum.mflenses.com/basic-techniques-to-repair-lenses-and-cameras-t32862.html
  9. Like
    see ya got a reaction from maxotics in What does Pixel Format (8bit-32bit Floating point Video levels-Full Range) mean?   
    32bit floating point is higher precision color processing over 8bit, float versus integer precision, 32bit is also usually done in the linear domain rather than on gamma applied image data. 32bit float there should be no loss of data from clipping, image data values can be negative or greater than 1.0 although you won't see that on your monitor and it will look like clipping is happening on your scopes but as you grade you'll see the data appear into and out of scope range, where as 8bit processing will clip below 0 and above 1 ie: 0 to 255 in 8bit terms.
     
    Full versus Video levels. Whether the image is encoded in camera based on a RGB to YCbCr conversion that derives YCbCr values, (luma & chroma difference) based on luma over limited range or full range, you're aim is to do the correct reverse for RGB preview on your monitor.
     
    You can monitor / preview & work with either limited or full as long as you are aware of what your monitor expects, is calibrated accordingly and that you feed it the right range. If you're unsure then video levels. Video export 'should' be limited range certainly for final delivery, full range only if you're sure of correct handling further along the chain for example to grade in BM Resolve you can set 'video' or 'data' interpretation of the source.
     
    Your 1DC motion jpegs are full range YCbCr but as the chroma is normalized over the full 8bit range along with luma (JPEG/JFIF), it's kind of equivilent to limited range YCbCr and the MOV container is flagged full range anyway so as soon as you import it into an NLE it will be scaled into limited range video levels YCbCr. Canon DSLR, Nikon DSLR and GH3 MOV's are all h264 JPEG/JFIF, flagged 'full range' in the container, interpreted as limited range in the NLE etc.
     
    What you want to avoid is scaling levels back and forth through the chain from graphics card to monitor, including ICC profiles and OS related color management screwing with it on the way as well.
     
    You may also have to contend with limited versus full range RGB levels as well depending on the interface you're using from your graphics card, DVI versus hdmi for example, NVidia feeding limited range RGB over DVI full over hdmi.
  10. Like
    see ya got a reaction from etidona in What does Pixel Format (8bit-32bit Floating point Video levels-Full Range) mean?   
    32bit floating point is higher precision color processing over 8bit, float versus integer precision, 32bit is also usually done in the linear domain rather than on gamma applied image data. 32bit float there should be no loss of data from clipping, image data values can be negative or greater than 1.0 although you won't see that on your monitor and it will look like clipping is happening on your scopes but as you grade you'll see the data appear into and out of scope range, where as 8bit processing will clip below 0 and above 1 ie: 0 to 255 in 8bit terms.
     
    Full versus Video levels. Whether the image is encoded in camera based on a RGB to YCbCr conversion that derives YCbCr values, (luma & chroma difference) based on luma over limited range or full range, you're aim is to do the correct reverse for RGB preview on your monitor.
     
    You can monitor / preview & work with either limited or full as long as you are aware of what your monitor expects, is calibrated accordingly and that you feed it the right range. If you're unsure then video levels. Video export 'should' be limited range certainly for final delivery, full range only if you're sure of correct handling further along the chain for example to grade in BM Resolve you can set 'video' or 'data' interpretation of the source.
     
    Your 1DC motion jpegs are full range YCbCr but as the chroma is normalized over the full 8bit range along with luma (JPEG/JFIF), it's kind of equivilent to limited range YCbCr and the MOV container is flagged full range anyway so as soon as you import it into an NLE it will be scaled into limited range video levels YCbCr. Canon DSLR, Nikon DSLR and GH3 MOV's are all h264 JPEG/JFIF, flagged 'full range' in the container, interpreted as limited range in the NLE etc.
     
    What you want to avoid is scaling levels back and forth through the chain from graphics card to monitor, including ICC profiles and OS related color management screwing with it on the way as well.
     
    You may also have to contend with limited versus full range RGB levels as well depending on the interface you're using from your graphics card, DVI versus hdmi for example, NVidia feeding limited range RGB over DVI full over hdmi.
  11. Like
    see ya got a reaction from Tone13 in Why I am going with 4K and why you should too   
    Is that aimed at me? I guess not because I never made that strange assumption. ^
  12. Like
    see ya got a reaction from gloopglop in Advice on new Mac editing setup please!   
    haha, :-)

    I Don't if its worth trying to calibrate or if its possible to successfully calibrate it. If there is acess to those controls then first step would be to download a couple of calibration images of some AV Home Cinema forum, the images with all the greyscale boxes on for setting brightness and contrast and see if the imac display can actually display them all after adjusting the hardware settings, if that's not possible then wouldn't waste any time trying to calibrate and profile it with a probe.

    May be better to just use a decent backlit LED domestic TV and calibrate / profile that. :-)
  13. Like
    see ya got a reaction from gloopglop in Advice on new Mac editing setup please!   
    Calibration and profiling are two seperate things, to calibrate, ie: to set black and white levels requires access to hardware brightness, contrast, LED backlight, RGB gain and offset.

    Calibration gets hardware responsive to profiling and 3D LUT for display for Resolve after that.

    So does imac give hardware access to those?
  14. Like
    see ya got a reaction from Ergo Zjeci in The computer you edit RAW files on   
    NVidia GTX770 4GB any make, budget would be maybe a Zotac. Socket 2011 could be a Asus P9X79 Pro mobo which gives 2x 16x PCI-e 3.0, on a budget a basic quad core processor, 16GB or 32GB HyperX (4x 8GB sticks). Eizo CS series monitor + cheapo monitor for GUI / Scopes.
     
    The SDI thing and 3D LUT box is a step too far really for budget.
     
    Most important is GPU power with as much VRAM as you can afford 4GB really particularly if using any temporal filters, then 2nd importance is RAM, 16GB minimum, 32GB better, then least importance is processor, just used for encoding.
     
    Personally I'd not waste cash on an 8 core or greater processor, on a SSD, on 2x mediocre Dell monitors, perhaps put that cash towards one decent entry level reference monitor like a Eizo CS range, or the CX range that'll take a 3D LUT, if you can afford it.
  15. Like
    see ya got a reaction from Ergo Zjeci in The computer you edit RAW files on   
    I'd double your GPU ram to 4GB. Have you looked at socket 2011 ivy bridge e? Consider one decent monitor that takes a 3D LUT than two poor ones and just pick up a cheap monitor for GUI. Then there's the whole SDI out not GPU, external LUT box etc.
  16. Like
    see ya got a reaction from Paulio in PC Help Needed. Custom Build. For 5d Mk3 Raw.Resolve. PPRO. ETC.   
    On the spec you choose for Resolve at least 3GB VRAM on the GTX770, for the money a Zotac 4GB would be good, 5 yr warranty too.

    RAM I'd watch those jerk off heat sinks possibly clashing with your CPU cooling if you were to choose a fan rather than water cooled. CAS is high and only dual channel? If 2x 8GB? Maybe consider some low CAS, low voltage Kingston HyperX or similar.

    16GB is entry level for any RAM cache, play blast.

    Does your mobo support dual 16x PCI-e 3.0 if you add a second GPU, if you're going for Resolve 10b with dual monitors then think about adding a second GPU for just GUI, as 10b supports multi GPU and prefably on a mobo supporting dual 16x not 16x then 8x and 8x.

    Blackmagic recommend the Asus P9X79 Pro for that, socket 2011 Ivy Bridge, 4 channel RAM etc, have you done a cost comparison with socket 2011 and a quad core?

    For PSU I'd suggest the 850W to cover things like second GPU and a small disk RAID. RAID 0 for that just as workspace, RAID 1 for backup to a Synology NAS and a eSATA dock for bare drives for off site. No RAID 5 or 6 unless using enterprise standard drives.
  17. Like
    see ya got a reaction from HurtinMinorKey in PC Help Needed. Custom Build. For 5d Mk3 Raw.Resolve. PPRO. ETC.   
    On the spec you choose for Resolve at least 3GB VRAM on the GTX770, for the money a Zotac 4GB would be good, 5 yr warranty too.

    RAM I'd watch those jerk off heat sinks possibly clashing with your CPU cooling if you were to choose a fan rather than water cooled. CAS is high and only dual channel? If 2x 8GB? Maybe consider some low CAS, low voltage Kingston HyperX or similar.

    16GB is entry level for any RAM cache, play blast.

    Does your mobo support dual 16x PCI-e 3.0 if you add a second GPU, if you're going for Resolve 10b with dual monitors then think about adding a second GPU for just GUI, as 10b supports multi GPU and prefably on a mobo supporting dual 16x not 16x then 8x and 8x.

    Blackmagic recommend the Asus P9X79 Pro for that, socket 2011 Ivy Bridge, 4 channel RAM etc, have you done a cost comparison with socket 2011 and a quad core?

    For PSU I'd suggest the 850W to cover things like second GPU and a small disk RAID. RAID 0 for that just as workspace, RAID 1 for backup to a Synology NAS and a eSATA dock for bare drives for off site. No RAID 5 or 6 unless using enterprise standard drives.
  18. Like
    see ya got a reaction from Sean Cunningham in 5D Mark III uncompressed HDMI sample footage   
    It's funny to read when people mention the 'Prolost' Neutral as if it were a 'Picture Style'.
     
    I'm pretty sure when Stu named it that as a tongue in cheek sideways swipe at all the fancy pants picture profiles been knocked up and the 'slightly' exagerated claims made about them.
     
    He's long since suggested the 'flat' approach on prolost.com and before that in the DV Rebels Guide and the fact that just flattening neutral down a bit can be done without the need for a laptop to load the PS out in the 'field', to set in numerous cameras when a group get together to shoot adhoc.
     
    They'll be many out there with dialed down Neutral not even knowing they were using 'Prolost', and not only on Canon DSLR's but the for runners in the budget indie shooter hands such as the Canon HV range, :-)
  19. Like
    see ya got a reaction from JORSLUK in 5D Mark III uncompressed HDMI sample footage   
    Green color shift? Pinks to Orange as well? Nothing to do with WB. Use the right color matrix luma coefficients for BT601 instead of BT709 which will the assumed for HD source on pixel count if BT601 is not declared in the stream. Or other way round if Prores is flagging BT601 and the source is BT709.
     
    Also is the source full range luma or not? Not sure if Prores even does full luma, but that's what the Canons output.
  20. Like
    see ya got a reaction from jgharding in Exploring Nikon D5200 HDMI output - review update   
    A few additonal comments some specific to Nikon and Canon DSLRs.

    raw is 'single channel' 12 or 14bit data in linear light values and has no color gamut, ie: rec709, prophoto, ACES defined. So no skewing of values by gamma encoding and no restricted color gamut other than limitations of the camera hardware. Both those choices become user choices in the raw development process.

    Canons Digic processor handles this, it takes in the raw, does the raw development process like demosaic, line skipping (in pre mk3 models), applies various processing steps including camera response curve, picture style and outputs 4:2:2 YCC (lets leave analog YUV in the gutter). Not RGB. The 4:2:2 is aimed for the LCD display which takes YCC input.

    Canon added a h264 encoder chip to its line of cameras and tapped into that 4:2:2 and sent a feed to the h264 encoder and jpg image writer.

    The 4:2:2 YCC has been calculated slightly differently to rec709 mentioned above, for many models of Nikon, Canon and GH3 MOVs, the luma chroma mix is based on BT601 luma coeffs ie: color matrix, uses a rec709 transfer curve to go to gamma encoded YCC rather than linear light and declares rec709 color primaries in order to define the color gamut. The Nikon uses a BT470 transfer curve not rec709.

    The result is not rec709 4:2:2 in camera but JFIF, think jpg, chroma is normalized over the full 8bit range mixed with full range luma.

    That normalized 4:2:2 gets fed to the LCD screen and h264 encoder and soon for 5D MKIII hdmi out but to rec709 no doubt.

    YCC 4:4:4 and RGB are not interchangable in dicussion but belong to two different color models and need handling correctly accordingly especially getting luma coeffs and luma range correct in the conversion to RGB for display, otherwise undue clipping of channels will occur, artifacts created and wrong colors, pinks skewed toward orange blues to green.

    Great info CD.
  21. Like
    see ya got a reaction from Julian in Game changer, 5DII style.   
    Yeah, jesus huh, yes it's a great bit of kit for some shots, not all shots, it's another tool BUT it isn't a 'Game Changer', it doesn't warrant the build up it's had, it doesn't warrant comparison as a 'game changer' to what the 5D MK II did to the 'industry', shot for shot in a movie how many times use this device, how many times use a 'game changing' camera, every shot.
     
    I'm not judging the device based on the videos put up, I'm commenting on the over use if anything, yes it's to show off the device, better will follow but considering they had the heads up, surprised of whats been put up, that's all.
  22. Like
    see ya got a reaction from P337 in Game changer, 5DII style.   
    Yeah, jesus huh, yes it's a great bit of kit for some shots, not all shots, it's another tool BUT it isn't a 'Game Changer', it doesn't warrant the build up it's had, it doesn't warrant comparison as a 'game changer' to what the 5D MK II did to the 'industry', shot for shot in a movie how many times use this device, how many times use a 'game changing' camera, every shot.
     
    I'm not judging the device based on the videos put up, I'm commenting on the over use if anything, yes it's to show off the device, better will follow but considering they had the heads up, surprised of whats been put up, that's all.
  23. Like
    see ya got a reaction from Julian in Game changer, 5DII style.   
    A japanese nanobot that climbs inside your camera, chews all the Bullsh-t electonics out and gives a feed straight from the sensor to extenal raw capture, any camera. :-) Not made by Canon obviously as they thrive on it.
  24. Like
    see ya got a reaction from zephyrnoid in ProRes vs ProRes - A first look at uncompressed HDMI with the Nikon D5200 vs the Blackmagic Cinema Camera   
    The comment about Nikon and CLIPPING, meah, whatever.
     
    From the few native samples of C300 I've looked at it appears to be able to capture luma into 16 - 255, like many cameras. Certainly many Canon mpeg2 video camera sources I've seen are 16 - 255 luma but assume 16 - 240 chroma. Rec709 primaries, transfer and luma coeffs. But I don't think they use the mpeg2 sequence display extension to signal full levels, so unless some sort of luma scaling into 16 - 235 is done at decompression a 32bit float conversion to RGB will almost certainly be required to prevent software clipping of luma, all depending on camera use and exposure choice. Even then the preview will look clipped but the data safe to be 'graded' into 16 - 235 range for encoding out.
     
    Nikon, Canon DSLR's & GH3 encoding into MOV all use full 8bit luma BUT also normalize chroma over the full range, not staying within 16 - 240. But use the h264 VUI Option 'fullrange' in the metadata of the h264 stream to signal to a well behaved decompressing codec to scale levels 16 - 235 before conversion to RGB.
     
    VLC with hardware acceleration on ignores the fullrange flag so preview looks more contrasty with levels beyond 16 - 235 being crushed to black and compressed to white accordingly. NLE preview the same even at 32bit float as it's all display referred material but with 32bit float workspace the out of range data is held onto not lost.
     
    Most NLE's these days respect the fullrange flag and avert any problem with software induced crushing and clipping.
     
    It is possible to simply turn off the fullrange flag in the stream, which is something I personally do in order to avoid the scaling of levels into reduced range at import into the NLE, so you have access to super white and black, then work at 32bit float which holds onto RGB values beyond the 0.0 to 1.0 range but this needs care, then scale into strict rec709 for encoding out.
     
    Why Nikon uses BT470 luma coeffs I'm unsure but guess it's to do with noise or hiding it, like they hide noise or at least have done previously by skewing the color channels.
     
    Difficult to compare and ultimately pointless I guess to try to compare C300 mpeg2 with DSLR h264 with regard to any benefit of super whites.
  25. Like
    see ya got a reaction from Francisco Rios in Editing GH2 footage in CS6   
    [quote name='Francisco Ríos' timestamp='1353602925' post='22126']
    Yellow, thanks for the info. And what do you think about grading?
    What will better to work on grading? prores or nativ avchd with your workflow?[/quote]

    Grading in Premiere CS6 or AE, you're not working with native avchd or prores it's imaterial, the frame is decompressed into memory and converted to RGB for display including interpolating the sub sampled chroma in some way and with color processing / grading most of the tools work in RGB and if a choice done at 32bit precision preferably.

    [quote]I though that the imac will handle better prores to work with grading, twixtor, etc.[/quote]

    As we're all more than aware if our machine is not upto editing the source then there's two options. We buy a faster machine or transcode to something we can work with to get the job done. But that is to solve performance issues, there's no increase in 'quality' transcoding.
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