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Everything posted by tupp

  1. Nothing wrong with that footage! It makes me want to move to Saigon. How's the Mexican food there?
  2. @BTM_Pix Thank you for doing this. I was wondering if you could redo the first comparison without the cast shadows going through the charts. If you can, please put the charts in a sunlit area and please expose for the charts/sunlight. Thanks!
  3. It's probably okay if you haven't installed it. Plus, they have probably eliminated the problem by the time you downloaded it. Might be good to read the release notes on the version you downloaded.
  4. That "high-end" pros almost never use autofocus is not condescending -- it's a simple fact. Focus is often an important dimension of photographic artistry, and relinquishing decisions about such artistic expression to a machine is not something that a professional nor a craftsman would generally do. How would one use autofocus to execute the racks shown in this shot. Furthermore, there are aesthetic and practical reasons for using only manual cinema lenses. One might choose Master Prime or Crystal Express lenses for their performance or look, and if one is shooting on a cinema camera with a PL mount, lack of autofocus is moot. Using an autofocus lens both manually and automatically can be problematic, as manually racking focus requires solid marks that don't move (as is sometimes not the case with "focus-by-wire" AF lenses), so it is usually best to just stick with manual lenses. Even if one is using a camera that can take both autofocus lenses and manual cinema lenses, switching between AF lenses and cinema lenses can cause visual continuity problems. It's doubtful that an algorithm could have conceived of nor executed my above linked example. Here is a scene from a more recent production that is chock full of "fancy creative" and expressive focus racks, with virtually no focus tracking: Also, note the shot of the musicians that is purposefully thrown out of focus to convey the POV of the delirious character. By default, shooting with autofocus negates artistically deft, expressive racks such as these.
  5. tupp

    DIY softening filter?

    Of course, don't put the "schmear" directly on the lens element -- use a clear UV filter or some other separate piece of clear glass in front of the lens. Finger grease is usually more subtle than petroleum jelly, but finger grease will still lower contrast a little. Most "black dot" style diffusion/softening filters will give the effect of softening while still maintaining contrast.
  6. In regards to Tom Cruise and computer interfaces, perhaps a sofa could be converted into a giant track pad that "clicks" when the user jumps up and down on it.
  7. Is there? Most of the music videos on which I have worked were basically a bunch of flashy images cut together frenetically. Unless one is shooting a narrative music video, there is no "motivation" for the lighting, so anything goes. That is the fun of shooting music videos.
  8. The licensing excuse is not the real reason that camera manufacturers don't provide shallow mounts. M4/3 works fine for up to S35, and there must about 5 zillion ways for manufacturers to allow a female E-mount mount (or an EF-M mount) on their camera/adapters, while avoiding licensing problems. One easy way is to simply provide a front plate with just screw holes and the end user can purchase the female e-mount separately. I saw the Kinefinity e-mount adapter at NAB, and it is definitely the way for camera manufacturers to go -- provide a shallow mount (simple mount plates are best) and make adapters for every possible lens.
  9. I wouldn't be too sure of this claim. We need to see the photometrics with the beam angle delineated at 50% (one stop less) of max. Plus, it has a long ballast.
  10. Still cameras have to be able to white balance from a captured still frame, otherwise, how would one get a custom white balance from a strobe?
  11. Are you using the same memory sticks or drives from your previous computer?
  12. tupp

    Why film?

    I was trying to impress a girl, Kinda wish I had become a stock broker instead.
  13. Do you have a lot of programs/windows open when this happens? Perhaps the system is being overtaxed and the dialogue box is very slow to open. Or, could the dialogue box be opening underneath another window?
  14. If you are only going to arm-out the mic no more than 2.5 feet, then a regular mic stand might work on someone who is seated. However, most situations call for arming out the mic a longer distance than 2.5 feet. You probably need a sturdy stand with a baby pin on top, plus a boom pole, plus something like the bracket I linked, plus some sort of swivel clamp or a grip head. There are other ways to do this (and I frequently use one of the other ways), but if you already have a pro boom pole, this might be the best way to go.
  15. "rentals" Thanks for the link. However, that's a sparse list compared to the zillions of FF lenses out there. I would worry about vignetting with most Canon EFs and Nikkors. The issue could be similar to some lenses not mounting to the Metabones EF speedbooster -- there is an inner metal flange that prevents some wide angle lenses from being mounted. There's nothing wrong with the Panavision DXL color -- it was overseen by Light Iron from the early design/engineering phases. It's a rather unique and advanced approach. I would call Vision Research a "pioneer" resolution and frame rates before I would give that title to RED. Which reminds me -- the Phantom 65 is another excellent medium format cinematography camera that one can shoot with right now. VR recently discontinued that model, but they are still available in rental, and there are probably some shooters who still use them at normal frame rates as a nice MF alternative. Panavision has always been a "manufacturing" rental house. That is why they can create such amazing special items and one-offs that normal manufacturers can't even touch.
  16. I think the sensor is too big for most FF lenses, unless one is okay with cropping out vignetting. I have never seen the DXL marketed as a FF camera. The Kipon MF adapter is yielding excellent results. I would certainly consider it for any MF shooting. Again, if one is okay with the crop and with the slight loss of resolution, an MF lens with a dummy adapter on a FF camera also works. Some projects rent IMAX gear.
  17. There are several ways to do what you want. One common way is to use a boom pole bracket that fits into a grip head (or other swivel clamp) on top of a C-stand or light stand. Of course, you will still need a shock mount for your mic, and there are ways to mount two mics on the end of a boom pole.
  18. tupp

    New computer -_- help

    Hopefully, your boot process is just soundly borked, and you still have all of your files on your drive. Stop trying the "repair" function. Unplug all peripherals and SD cards from your laptop and try to boot again. If that doesn't work, you might try to see if your "BIOS" has somehow changed it's boot order or default boot device (doesn't sound like the problem, but it is worth a try). This is simple to do and there have to be instructional YouTube vids. If none of those things work, you might be able to boot a live USB. @Don Kotlos mentioned above a possible built-in Windows live USB image, but NEVER REFORMAT your computer if it tells you it needs to do so. You could also try a Linux live USB OS, which might be able to access your drive without changing anything on it, so that you can back-up all of your files before trying any serious recovery/repair.
  19. Are you referring to something that you saw in your aforementioned article? If so, please link it. If you are referring to the potential optical properties that might involve a "format specific" look, I listed some in the second paragraph of this post. In regards to the differences in "looks" between formats, other than focus rolloff, I listed some points in this post. There's also the Panavision DXL, along with its Red equivalent. There are some IMAX cameras that could probably use MF lenses. I believe that the second-generation Dalsa Origin had an MF sensor. The Kipon MF focal reducer works with several cameras. Of course, our own Rich Gale has the Forbes 70. Also, MF lenses work great on FF cameras with dumb (or tilt/shift) adapters.
  20. tupp

    New computer -_- help

    You might still have all of your files intact. Macs generally use the same internal components as many non-Macs. More info needed: Does it not turn on (blank screen) or does it fail to boot (you see stuff on the screen initially, but your desktop doesn't come up)?; Does it have multiple drives?; Is it a laptop?; etc.
  21. Uhm, those "beer bottle" images are very different. Did you enlarge them? Did you happen to notice the dramatic difference in focus on the bush/car to the left of the bottle? Well, in the first place, neither of those images were actually shot with a "large format" camera/lens. Right now, all we have to go on are comparisons made with FF, APS-C, M4/3 and an Iphone. In regards to optical and image properties that become increasingly inherent in bigger formats, I have in fact stated those earlier in this forum. Then why did you bother mentioning the Minolta/Sony lens with the date (1999) as well as the Fujinon APD with a date (2014)? And your point is...? Note that the Fujinon 56mm comparison not only shows a dramatic difference in focus roll-off, but that that roll-off seems to be eating into the technical DOF range. I disagree. If you shot with a 20'x20' camera/lens and a S16 camera/lens, I think that most of us could tell the difference in an equivalence comparison. And my point with the dramatic apodization demo is that there is more to DOF and focus roll-off than merely the equivalence principle and the DOF calculation. There are other properties and variables involved.
  22. I already have. The most obvious example so far is the "beer bottle" comparison. I have also listed what I think the properties might involve. I think apodization filters appeared before your first example (1999). Never seen that one! Very cool! Thanks! Looks like my prediction was correct.
  23. @jcs wrote that article? I missed it! Could you please provide a link to that article, and please quote the passage in which he addresses how the equivalence principle and DOF calculation applies to the dramatic difference in focus roll-off between 135mm apodization lens and other non-apodizatioin 135mm lenses? Thanks!
  24. Are you forgetting once again that I (and others) have stated I am not referring to the sensor/film size? My (and others') contention is that there are properties generally inherent in the optics designed for a certain sensor/film size. I thought that I made that clear. However, with this comment, you seem to have inadvertently admitted that there is a variable that affects DOF and focus roll-off that is not considered in the equivalence principle and in the DOF calculation. Is that true? Agreed, as I have stated before... except maybe for the consideration that a lens is designed for a specific sensor/film size. Funny, I was thinking of asking the same of you. It's not sensor size... Instead of suggesting that someone do an experiment, perhaps it would be more expedient if you would simply respond directly to the points made in this forum. For instance, please explain how the equivalence principle and DOF calculation applies to the dramatic difference in focus roll-off between the two Fujinon 56mm lenses shot at identical f-stops. I do, and I have. In fact, my footage/images that I have posted in this forum were part of lens/camera/adapter tests. I predict that you will not directly address how the equivalence principle and DOF calculation applies to the dramatic difference in focus roll-off between the two Fujinon 56mm lenses shot at identical f-stops.
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