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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. 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
  2. Hans Punk

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

    Arri did about 7 years ago
  3. 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.
  4. Hans Punk

    Good vintage taking lens ideas between 58mm-85mm

    Lomo OKC1-75-1 75mm F2
  5. 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.
  6. 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.
  7. 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.
  8. Hans Punk

    Magic Lantern Raw Video

  9. Hans Punk

    Magic Lantern Raw Video

  10. 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
  11. Hans Punk

    The Diopter Thread.

    Redstan has a 95mm +0.5 closeup for sale. https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.co.uk%2Fulk%2Fitm%2F332535123459
  12. Hans Punk

    Getting Oval Bokeh with SLR Magic 1.33 Compact

    AF with anamorphic is generally extremely hit and miss, although with a 1.33x it can work pretty well. Modern MC lenses also don’t flare as well as anything vintage. Even if you don’t care much for flare, the look that you can get with older manual lenses is well worth the effort...a Helios 44 with an oval inside is about as good as Century/SLR/Optex 1.33x can ever look IMHO. Saying that, I bought a cheap Chinese nifty fifty f1.8 knockoff and put an oval inside and that works surprisingly well as an AF taking lens...the simplistic coatings also did not kill the flare too much either. But you can’t really beat the look of using an older manual lens.
  13. Hans Punk

    Getting Oval Bokeh with SLR Magic 1.33 Compact

    Adding oval discs to anywhere other than at a lens at aperture location will introduce considerable light loss and added vignette. Solution is to locate oval aperture directly - or at the closest point to aperture level (as mentioned by whoisjsd). Easiest and cheapest is to modify a Helios 44 lens this way, and to use that as your taking lens. See diagram below to see highlighted area for proper oval aperture placement in Helios 44 (or any similar Double-Gauss lens design): With an oval aperture correctly installed and orientated, the effect is increased oval bokeh on a 1.33x anamorphot, and a sharpening effect due to the taking lens effectively being stopped down on the horizontal axis (yet maintaining near full height aperture). Here is a crappy sample of my 1.33x Century with Helios 44 with oval aperture installed...ignore the softness of the image, the proximity of the subjects was too close for sharp focus...but you can clearly see the improvement in bokeh definition:
  14. Hans Punk

    New, Yeah New Kodak Super 8mm Camera.

    Kodak 10 years late with this idea...such a missed opportunity to not have used classic cine camera designs from the past. That at least could create a desirable/ collectible camera for a relatively niche market. That would be of some justification for the insane price and ‘gotchas’ that the Kodak ecosystem will force users to comply with. I’ve not looked into it properly, but it appears that the Kodak s8 camera is a pretty close copy of the previously released Logmar camera. The Logmar looks better, but also expensive considering how much existing excellent s8 cameras go for on the used market. http://www.logmar.dk/ I’d much rather spend the same money on a Beaulieu 6008 PRO and iscorama!
  15. CamFi CF102 Wireless DSLR Camera Control for Canon Nikon Sony Item in 'As New' condition. Only used twice for test purposes, works perfectly. This is the most recent model revision of the CamFi CF102 controller. Box includes power and camera connection USB cables ,lanyard and instruction booklet. https://www.ebay.co.uk/itm/CamFi-CF102-Wireless-DSLR-Camera-Control-for-Canon-Nikon-Sony/253355762996?hash=item3afd2e2534:g:w0YAAOSw8W5aU973 70 UKP buy it now. Features 1. Use Large Screen Tablet Instead of the Small Viewfinder CamFi Can Use Android and iOS Devices to be Your Viewfinder.It can Stream Live View From the Camera to Your Devices Wireless. 2. Save You From Awkward Pose Using Mobile Devices as Viewfinder, You Can Easily Shoot the Exciting View Without Having to Use Those Very Awkward Poses. 3. Self Portrait Instead of Requesting Others Help You to Take Pictures, You Can Connect the CamFi Device to Your Camera, and Use Your Mobile Viewfinder to Find the Memorable Moment, Then Capture it by yourself. 4. Powerful Time-lapse Most DSLR Cameras Only Provide the Countdown Shooting. CamFi Provides a more Advanced Time Lapse Feature Which Gives you Flexibility to Set Shooting Time Interval and Photo Count. 5. Show Your Photos on TV as They are Taken You can Use an LCD TV to Show Your Photos as They are Taken. You can Check the Details of Your Work Instantly. This will also Give Your Client Better Experience in Photo Shooting. 6. Android TV Stick Supported CamFi Application can be Installed on a Small Android TV Stick or Android TV box. Now You Can Use TV set to be your Viewfinder and Photo Player. 7. Transmitting Raw Files Faster with Smartview Raw Files are Always Large. It can Take Tens of Seconds to Transfer a Raw File Via WiFi. With the SmartView Feature, it only Takes 5 seconds to View a Raw File. 8. Print the Photos as They are Taken With the Windows Client Software of CamFi, You can Print the Photos instantly after they are Captured. 9. Share your moments with friends When you take photos, you can download them to your mobile phones from your DLSR camera via CamFi, and share them to your social network instantly. Specification Brand: CamFi Model: CF102 Color: Black Input: 5.0V-1.0A Internal battery: 3.7V-1800mAh Signal distance (max.): 50m WiFi: 802.11n Transmission speed: 150 Mbps FCC ID: 2AFRF-RCCM Compatible with: SONY a7R, a7R II, a7, a7S, a7II, a6300, a6000; CANON 1Dx, 1Dx II*, 5D II, 5D III, 5D IV*, 5Ds*, 5Dsr*, 6D, 7D, 7D II*, 50D, 60D, 70D, 80D, 100D, 500D, 550D, 600D, 650D, 700D, 1100D, 1200D, 1300D; NIKON Df*, D3, D3s, D3x, D4, D4s, D5*, D90, D300, D300s, D500*, D600, D610, D700, D750*, D800*, D810*, D3200*, D3300*, D5000*, D5100*, D5200*, D5300*, D5500*, D7000, D7100*, D7200*. (“*” means the usb cable with CamFi does not match for these cameras. Please use the original usb cable with the camera to connect with CamFi.) Dimension: approx. 9cm×4.4cm×2.6cm/3.54×1.73×1in Weight: approx. 129g Package included 1pcs CamFi remote camera controller 1pcs Mini USB cable for connecting to the camera 1pcs Micro USB cable for charging the battery 1pcs Lanyard 1pcs Quick start guide