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Hans Punk

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Everything posted by Hans Punk

  1. @Rikoshet No, I sold it about 2 years ago.
  2. https://www.ebay.co.uk/itm/223735772092?&shqty=1&isGTR=1#shId If buyer lets me know they are an EOSHD member via ebay message, I'll refund postage costs to UK and Europe.
  3. When it comes to anything Apple power/ charger related - It is often best to avoid the cheap Chinese knockoffs. Always better to go for the expensive versions made in the factory next door.
  4. I think Apple are way too late to the party...like an arrogant drunk waving his wallet around. Apple won’t surpass Netflix and Amazon because they’ve insisted on being too proprietary in their thinking and have no innovation sparkle under its current dictatorship. It is essential these days for consumers to have choice of platforms to view streamed content. People expect everything to be available on a phone, laptop,desktop,TV and totally agnostic to which manufacture of peripheral you are viewing it on. Apple TV is an example of the last clinging attempt of Apple to lock and control mass
  5. For Rectilux I’ve used basic white Lithium grease that can be found almost anywhere. A good quality synthetic grease like that is sold in cycle shops or DIY stores. You can buy it in small tubes and the grease itself has a similar consistency as hand cream. In my experience, more specific greases that have thicker viscosity and higher drag values are often harder to thin to get to a desirable friction. There are quite a few synthetic grease brands out there that can work equally well, the trick is (especially with Rectilux) is to coat a very small and even amount throughout the helicoid,
  6. @billputnamphoto “So the question is, based on the photos here what's it worth”? As it stands, those web marks will effect the flare and image on that already soft lens. I guess it’s worth what anyone wants to pay for it. I’ve had a few of these lenses in the past, one in a similar state to yours that I disassembled, removed fungus, cleaned and re-lubed back to good working condition. They are not the easiest lenses to work on for a first timer though, since they are so small and quite delicately engineered. FYI I never paid more than $350 for my mint copy of that lens (3 years
  7. Not meaning to open a can of worms - but most iscorama models (at least 36, pre 36 and 54 types) have an actual stretch factor of 1.42x. But to answer the question - no, I’ve not noticed any discenable shift in ratio when setting minimum focus using the proxiscope.
  8. You don't get a dongle when buying the BMP4K - the Resolve Studio software comes on a SD card in the box. inside the SD card holder is a card with the activation code. You can also download the Resolve studio software from BM website, by using the same code to unlock and register. If reselling camera and Resolve studio, you can simply deactivate the activation inside Resolve and pass over to a new owner to re-activate.
  9. Blackmagic already have prores export functioning on the windows version of thier Fusion software...as of yesterday that was how I’d normally export ‘genuine’ Prores from my windows 7 workstation. Now with Adobe being granted prores export for windows (as long as you are on windows 10 that is) it makes life a lot easier. Blackmagic indeed need to implement prores export via Resolve - or at least a simple ‘send to Fusion’ dynamic link feature so as to make that software suite complete for windows users. DNxHD flavours are all well and good, but deliverables often need to be in a reco
  10. To be fair, it is hard to avoid strong brown tones when filming the seafront of Weston-Super-Mud
  11. 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 contr
  12. 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.
  13. 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, a
  14. 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 po
  15. 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 var
  16. 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 fi
  17. 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 ar
  18. @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 t
  19. 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 alte
  20. 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.
  21. 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.
  22. Yeah - it needs a cable strain relief on it IMHO...looks like the 8sinn solution have recognized that.
  23. 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.
  24. 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, bu
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