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Hans Punk

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Hans Punk last won the day on April 18 2016

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About Hans Punk

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    Hans Punk
  • Birthday May 5

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    Bristol. UK

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  1. Hans Punk

    Blackmagic Pocket Cinema Camera 4K

    Yeah - even something as chunky as the original Zacuto EVF, but with rear slot for T5 drive would be nice. Having a dedicated loupe monitor with integrated ssd slot at rear would allow to position it away from the camera body and allow third point of contact when used as loupe on the end of a rosette arm. The HDMI and USB-C cables could just be bundled into a nice Kevlar sheath to make a rugged tether. The thin HDMI cables now available would not make that cable bundle too thick...Slap a LP-E6 battery on the back of the monitor for power.
  2. Hans Punk

    Blackmagic Pocket Cinema Camera 4K

    Yeah - it needs a cable strain relief on it IMHO...looks like the 8sinn solution have recognized that.
  3. Hans Punk

    Blackmagic Pocket Cinema Camera 4K

    Now if someone could combine the T5 enclosure with a nice high res 3 inch OLED display (to use with a loupe finder) - that would make a rather nice eyepiece/recorder combo.
  4. Hans Punk

    2.55:1 viewfinder workflow

    To use 5DIII as an accurate viewfinder, you’d first have to consider the sensor size difference between full frame and whatever RED camera (and shoot setting) you are using. Even RED Weapon 8k is not the same as Regular full frame - it is slightly wider but not quite as tall. once you’ve worked out that equivalent ‘crop’ or resize to match base sensor size/aspect...then you can work out the accurate frame line for 2.55:1 composition. The most efficient way IMO would be to mark the LCD or monitor on your 5D with thin tape lines that give you a guide for composing shoots and stills, but otherwise shoot regular 19x9 1:1 ML raw. Then in post, set up a template in AE or NLE that will resize or place your footage into a composition that has been pre-set to the settings needed. Batch render footage from these settings to efficiently produce rushes. for stills you’d need to set the camera settings to 16:9 stills and produce a similar template/action in PS to export stills with the desired crop and resizing you want. As for the other technical details, you’d be better posting in the ML forum, but generally it is going to be easier to work out accurate framing to the RED by shooting regular 16x9 footage and crop/resize from that after mathematically working out the crop compensation amount.
  5. Hans Punk

    Rotoscoping 911 – HELP!!

    Forget roto brush IMO. Mocha should be up to the task no problem. If mask tracking not sticking to subject well - or drifting away from subject over time, it sounds like you need to add an occlusion layer to tell the tracker exactly what not to try to track so it doesn't get confused. With a clean track it should just be a case of adding a few key frames to the masks to get a good result. Plenty of good tutorials on YouTube. Very hard to guess without seeing the shot in question though.
  6. I’m currently having a clear out and am selling 3 ultra-stars on eBay for £180 each if anyone here is interested. Please read auction descriptions about lenses for sale, and look at photos to see cosmetic condition of each lens (all optics are in great shape). https://www.ebay.co.uk/itm/253719840333?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 https://www.ebay.co.uk/itm/253719944232?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 https://www.ebay.co.uk/itm/253719950581?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649
  7. Hans Punk

    Sony's new full frame CineAlta camera is announced: VENICE

    Arri did about 7 years ago
  8. Excellent lens in very good condition, no issues at all. Ideally configured for video use - high quality seamless gears for zoom and focus rings have been added (purchased from Helicoptersean), rings can be removed by hand, as they install by friction fit - no tools required. Peli case has its foam plucked to ensure a very snug and secure fit. Comes with Peli 1120 case, Petal sunhood, lens gears, front and rear caps. See more detailed pictures for condition in auction here... https://www.ebay.co.uk/itm/Tokina-11-16mm-F-2-8-AT-X-PRO-For-Canon-EOS-with-focus-gears-and-peli-case/253656227792 Cheers.
  9. Hans Punk

    Good vintage taking lens ideas between 58mm-85mm

    Lomo OKC1-75-1 75mm F2
  10. Hans Punk

    Ways to avoid white Vignetting?

    @jaquet Please don’t try ink or paint on the rear edge of a pre-36...it is not a good idea (even for VD to attempt). These optics are best not to touch if at all possible. An effective way to solve the square rainbow flare by making a custom rubber ring and securing it to the outside edge of the element housing. As for veiling glare or white vingette on a pre-36? - I’m not sure if that is particularly normal (as it is with Kowa types). @ch_d is your pre-36 displaying any unusual white flare on the edges? Could you post a screen shot of what you mean? (And what taking lenses you notice it with). Pictured below is a shot of my rubber ring solution to eliminate the square rainbow edge flare that the pre-36 gives with taking lenses other than the factory Isco type that doesn’t have the issue (because that lens has an inbuilt light baffle). I’ve recently given Tito the details on how to make this ring, so he will probably do a video tutorial on it soon, like he did with the information I sent him about the edge blackening, close focus and sharpness tune up mod for Kowa types.
  11. Hans Punk

    No Phone Rule on Set?

    I remember thinking Christian Bale’s outburst sounded perfectly justified. He was the only side that was talking/shouting any sense from what could be heard. ‘I was looking at the light’ implies Hurlbut was too busy and impatient to give the actor any consideration or much courtesy of space (sounded like it was not for the first time). Bale was playing an intense character in a poor film directed by a terrible director. Any actor of worth would want to protect their space for themselves when put into situations where their presence of mind has to be totally focused into a character, especially when trying to maintain a continuity of intensity throughout a scene that has a break or pause in shooting due to an adjustment of a lamp. This was apparently a hugely inappropriate moment for the DP to break the scene for the actor, Bale was right to complain. Hurlbut should have been sensitive to what was happening and been able to voice why he felt justified in breaking the scene to correct a technical issue...he didn’t, at least not to Bale’s satisfaction. Even on the bigger budget projects I’ve experienced , I’ve noticed basic set etiquette such as avoiding actors eyelines during rehearsal and shooting often gets overlooked...sometimes a bite back from an actor can make the crew appreciate how fucking hard it can sometimes be to do their work with a million and one distractions and disruptions. But as soon as an actor voices any complaint, then they can get labelled as ‘difficult’. Their job is to make their job look easy, that’s why they get the big bucks. More crew members should take acting classes to get a taste of what is to be expected in front of the lens, it’s a real eye opener and can massively help understand and empathise with an actors needs sometimes. IMHO Phones that are not being carried by production or hair+makeup/ art dept (for continuity stills) should be smashed with a hammer - If found making noise or (just as bad) someone checking Facebook in front of the director during takes. It’s disrespectful to not at least hide any phone use on a set. It’s like any creative workplace, the best work can often easily be compromised by distraction. Ive noticed that commercials/ music videos that may be shot non-sync often breeds more phone use, since the more relaxed attitude to crew noise levels can breed other behaviour that normally would be frowned upon if shooting sync and having constant calls for quiet. If your fellow crew members (or director) are happy about using phones on a set...at least give your actors/performers a break from seeing or hearing them when they are trying to prepare or execute a performance. It is simple respect.
  12. Hans Punk

    Magic Lantern Raw Video

    Agreed, the 3x crop mode is still very unique advantage - especially for macro video. The ability to also shoot higher resolution (even at reduced frame rate) in raw is quite amazing.
  13. Hans Punk

    Magic Lantern Raw Video

  14. Hans Punk

    Magic Lantern Raw Video

  15. Hans Punk

    75 GBP vs 750 GBP Single Focus Adapter

    Inspired by @Justin Bacle and his post, I recently picked up the big brother of the GB-Kalee that had damaged internals - but luckily the front focusing section was in great condition. The optics are a beastly 100mm front and rear so I separated the front focusing assembly and have been pretty impressed by the optic quality and coating. I post this here as it is a bit more info on the bigger brother of the GB-Kalee Small as it may inspire others to remount or test further these lovely vintage optics as single focus solutions. Unfortunatly I have just started a long term job that does not allow me to spend time playing with re-mounting this beast, so I've decided to sell. From what I can tell, to get minimum focus on this big boy (of 1m) - the front and rear optics need spacing of approx 40mm...which unfortunately is further than the helicoid will allow without unscrewing and separating the two body halves. However if someone was to re-mount or rail-mount the optics in some kind of MacGyver fashion, you'd have a very tasty big boy focusing optic to play with. Like I said, I now have no time to experiment with this myself, but from some rough handheld tests - it appears to deliver the same high quality as it's smaller Kalee brother, but with bigger optics. In a shameless move (but target to those following this thread who might find interesting) , here is my focusing assembly listed on ebay: http://www.ebay.co.uk/itm/GB-KALEE-VARAMORPH-Focusing-front-Assembly/253440130338