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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

    Cinemartin Fran 8K Global Shutter Camera

    Q: Where is the SDI Port? A:
  2. Hans Punk

    Ways to avoid white Vignetting?

    A rear plug that effectively creates an aperture that is spaced away from the rear optic of the Iscorama will of course create an undesired effect. The rubber ring method however does not - because it is situated just on the very edge of the rear optic edge of the pre-36 that is collecting the light and causing the white vignette and square rainbow flare. The rubber ring is acting as a pellicle/baffle, not as a mask or iris...it is a common method (with many vintage lens designs) to help clean up just the unwanted light and edge glow from an optic edge - that can otherwise introduce contrast drop and unwanted internal flares. the only reason that the Isco-pre 36 may require such a pellicle/baffle ring - is when using the Isco on a non-factory taking lens (which most people these days are). The original 50mm Isco taking lens has a deep recess and edge baffle for the Isco rear built into its design, so does not exhibit the same amount of edge rainbow flare or white vignette.
  3. Hans Punk

    Baby Iscorama - soft?

    The iscomorphot 8/1.5x is a nice lens...did not want to give it too much of a hard time, but it's limitations on wider apertures can be an issue. I seem to recall that I got some good results with taking lenses that maintained a spherical aperture when at f4-5.6. I made a fixed f5.6 spherical aperture disk for my taking lens so that I could never go wider than the baby could handle (especially on FF), the spherical disk kept a perfect oval result in the bokeh.
  4. Hans Punk

    Baby Iscorama - soft?

    I’ve had 3 copies of the iscomorphot 8/1.5x over the years, two with optics in fair to heavily used condition that I took apart to re-grease the helicoids...one lens that I owned was totally pristine. All lenses were soft unless taking lens is fairly heavily closed down with better performance on smaller sensors. I found that the characteristic ‘bloom’ softness that the lens has is a limitation of the front focusing optic. It is of not of a sufficient design that was intended to resolve sharpness at wide apertures on sensors with an equivalent gate size that is larger than for 8mm film, and the relatively thin edged optic can easily create a bloom on highlights that infect the whole image...as well as some CA on high contrast edges. On used copies of the lens, it is common for the edge blackening of that front optic to loose its black and accumulate micro scratches...resulting in even more contrast drop and apparent softening of the image. Overall, I really don’t think the lens is worthy of the ‘Baby Iscorama’ name...IMHO the smallest lens that exhibits the most comparible optic quality to an Iscorama (pre-36) - is the iscomorphot s8/2x (fixed focus). Same golden coating, zero CA and lovely balance of sharpness and defocus render. The iscomorphot (and it’s bigger non-MC brother 16/2x) are of course 2x, but they have enough of a complimentary look to the Iscorama 36/42/54 family, footage can be easily intercut when mixing lenses. The ‘baby Iscorama’ 8/1.5x however would stick out like a sore thumb in a lot of scenarios if wanting to match the look of the Iscorama clan...the sharpness and edge performance is just is not there, unless using a small aperture on the taking lens.
  5. Hans Punk

    SteadXP - Do You Have One?

    The greater the stabilisation needed, the greater the crop will be to hide the edges of your footage from being ‘in shot’ after correction. So shooting at a higher resolution (such as 4K+) on a wider lens would be beneficial in most cases, since any post crop introduced from the software would have a negligible effect on resolution, or nil impact if delivery is HD. The nice thing about the SteadXP software is that it allows full override control of the stabilise intensity, with options to keyframe just the sections in need of maximum stabilisation. In other words, a slow keyframed post zoom can be set to hit the crop amount needed to clear the stabilised edges of the frame - then the crop amount can be dialed back to slowly regain the wider FOV. The features of the SteadXP software are too rich to exist as a simple NLE plugin, the power and customisation options in processing the footage needs its own application to exploit the full power of the correction method. Using SteadXP to stabilise handheld moves or jitters from a small camera is not really the best use of the system IMHO. It is too much of an involved process to have for what could be addressed with a gimbal these days. Where the SteadXP really shines is when used in dynamic situations such as filming out of a helicopter or rigged to a car/bike or when the camera is on a helmet rig and you need to iron out a lot of bumps and shakes from a relatively compact setup that does not require mechanical stabilisation on the camera mount. I suspect the initial excitement over SteadXP dropped off due to the swell of gimbals and IBIS enabled cameras...as well as people being put off after learning that a separate workflow of lens calibration/hardware setup and software processing have to all be done correctly just to get to the corrected footage stage. It is not a ‘click and analyse’ post stabilisation solution that many had assumed or wanted it to be. The SteadXP guys themselves have not particularly pushed the media section of their site to appeal to dummies, so there is a little bit of research required elsewhere online from other users to figure out how to achieve the best results. I personally think the SteadXP fills a specific niche that is yet to be bettered. Using a hardware/software solution is a pretty unique method for a prosumer product...the results are relative to the time spent finding and exploiting its advantages over mechanically stabilised solutions. It is not a magical solution that will appeal to all, but I’m keeping mine for a while - as it can be deployed for a few situations that are not simply practical to achieve with my Ronin-S.
  6. Hans Punk

    SteadXP - Do You Have One?

    Windows PC - but the software is available on mac (and I think Linux can be requested). To be clear the SteadXP is a half hardware, half software solution. The little SteadXP box attaches to your camera and records accelerometer data via one channel of the audio track of the recorded video from the camera. Once auto-synced and processed through the SteadXP software, the decoded data (recorded as telemetry audio pulses) is translated into a corrected displacement mesh for the video footage to be displaced by. The end result is a corrected video that can be exported from the software at various codecs for ingest to your NLE of choice. https://steadxp.com/
  7. Hans Punk

    SteadXP - Do You Have One?

    I have the SteadXP (DSLR version) and it is impressive for sure. Seems like it was unfortunate timing for the company since during the time they announced and raised their funds from kickstarter , and started actually shipping the product - many cameras were appearing onto the market with improved internal stabilisation support....not to mention the shit tone of affordable gimbals available now. SteadXP works great for cameras that do not have IBIS, yet can shoot higher than HD resolution - so that the inevitable post cropping of the software will not impact to drastically on the final image quality. The SteadXP software is surprisingly featured and efficient at processing footage and has a hidden bonus option of being able to export prores output on a windows pc. SteadXP blows away any consumer grade post-stabilisation software, as it will never exhibit the same warped artefacts from being confused by trying to correct the visual input only, but instead it applies a corrected distortion mesh from the accelerometer data...much more accurate. It could be considered a slight PITA to setup these days, but I still have my SteadXP to hand for if I need to mount or use in a vehicle, where my Ronin-s is not practical or has to have a small enough footprint to fit somewhere hidden or confined. Higher shutter speeds are a must (as with every optical-flow based post-stabilisation software)..but post motion blur can easily be reintroduced with the SteadXP software or later on using RSMB plugin or similar. No big deal. They are going pretty cheap on Ebay right now...but if you buy one make sure the seller includes login registration details to activate the software. Very short sighted idea that SteadXP had that owners might one day want to sell on to another user. But I suspect it could be a condition of having the prores licence. Looking at the footage of the most recent GoPro model, it appears that GoPro have either collaborated with the SteadXP guys to endorse the Gopro SteadXP add-on tech - and miniaturised it within the camera body...or GoPro have straight up copied the idea from them. The stabilised results look identical to what the SteadXP can do to the earlier GoPro models when using the SteadXP add-on pack.
  8. Hans Punk

    Ways to avoid white Vignetting?

    You will need to go smaller with the ring - you will be surprised how narrow the diameter needs to be...it is trial and error. I can’t give an exact diameter since I’m away from my lens to check. You can use a thinner ring and cut to the perfect diameter (glue the two ends together with micro spot of superglue well away from the lens). You can then glue that smaller, thinner ring into the thicker outside ring that you already have. It is a bit tricky to explain with words, but the end result is a bit like a plug that is made from one larger diameter ring (like you already have) to fit flush around outside edge, with one smaller diameter ring that is glued to the inside of that ring that acts as the baffle/choke mask for the actual optic edge. From memory, finding one single ring that can be the ideal outer and inner diameter is pretty much impossible...so some experimenting with many combinations should be expected. As stated before, glue a few size options well away from the lens and leave to dry to disperse vapours before test fitting near the rear of the Isco.
  9. Hans Punk

    Ways to avoid white Vignetting?

    @mirekti Thanks for the pictures, that veiling glare is being caused from the rear optic (exposed edges) being hit by light, So the rubber ring trick will eliminate that glare/white vignette. As mentioned before, it will probably be best to experiment with a few sizes of nitrile rings to get the desired effect. The best method I found was to glue two rings together (one with slightly larger outside diameter) this makes it easier to attach to outside lip of the rear element housing, while the smaller diameter sits flush with the rear optic edge..the larger diameter ring can be fixed with very thin strip of double sided tape (1mm wide 3M tape used to fix mobile phone screens with). No adhesive (other than that particular tape) should ever be put near a glass optic, take care whenever placing anything near to the glass. You will find the perfect fit through experimentation, post your results here if successful
  10. Hans Punk

    Ways to avoid white Vignetting?

    The rubber ring trick is very good for eliminating the unique and distracting square rainbow flare on pre-36 models. As for white veiling glare, I’ve personaly never experienced such a thing on my Isco, and I would probably not want to eliminate it if it did. Could you post a picture of the veiling glare you want to eliminate? Sounds like the speedbooster + 35mm is revealing the light that is catching the edge of the rear optic on the iscorama - when directly exposed to light...I would be curious to see how pronounced it is with your taking lens (what is that lens btw?..have you tried an alternative 35mm taking lens?) I’d strongly recommend not to go anywhere near an Iscorama optic with a sharpie or anything similar, it won’t reduce the veiling glare (unlike when the technique is applied to Kowa B&H’s exposed front optic edge)...the front optic is not responsible for such a thing on the iscorama. The rear optic of the pre-36 is likely to be the culprit since the edges are exposed and not blackened (unlike regular 36). The rubber ring trick will likely resolve any unwanted veiling glare, or at least minimise it, if you choose to use a slightly larger diameter of ring so as to partially help reduce rear optic edge from receiving direct light.
  11. Hans Punk

    Filming from a helicopter

    If you can't afford to rent a Kenyon KS4x4 kit , I'd recommend getting the little SteadXP box - if IBIS does not cut it, or if you were using a camera without any stabilisation at all.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
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