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admin | How To Get Even With Your Ex | 16.04.2015
Many filmmakers and videographers are turning to 35mm adapters and interchangeable lenses to achieve a more cinematic look. The ability to add high quality 35mm lenses to a professional, prosumer or consumer camcorder can give more control over the depth of field, which is the range of focus in a shot. When using cameras with fixed zoom lenses, such as the Sony EX1, the Canon XF300 or the Panasonic DVX100, it's difficult to get the classic "short focus," or shallow depth of field look, which is when the subject in the frame is in focus, while the background and foreground are blurred. 35mm adapters with interchangeable lenses offer a better and affordable solution, freeing up the producer to shoot more cinematically without the worry of "cheating" to get the shot.
In his recent independent film, Monsters, Gareth Edwards used a Sony PMW-EX3 camera with a Letus Ultimate 35mm adapter and interchangeable lenses to give his movie a more polished look.
The 35mm adapter connects to the camera's stock lens; from there, you attach the lens mount and 35mm lens of your choice, using rails to keep everything in place. There are several 35mm adapters available, some of which were developed by filmmakers wanting to add a more professional look to their projects. One more note: 35mm adapters can now orient the image properly, so there isn't any need for vertical "flipping" in post-production. Whichever brand of lenses you choose, make sure you get the right lens mount, so there aren't issues with trying to attach a specific lens to the rig. Cine lenses are another option and can reduce common lens issues such as distortion, but the price is much higher. Once you've decided on which type of lens you'd like to use, SLR or Cine, you then need to decide if you want to use prime or zoom lenses.
If you plan on changing the shot from a wide to a close-up and you want to achieve the cinematic short focus, you'll need to switch lenses again, to an 85mm prime lens or higher. The best lenses to buy are the ones that are a little bit pricier, or older SLR lenses that are made of metal and glass.
Another disadvantage one should be aware of is potential vignetting, when a shadow is seen creeping into the edges of the image. Though we believe the advantages far out-weigh the disadvantages, it's prudent to be aware of possible limitations, so filmmakers and videographers can make better video. 35mm adapters and interchangeable lenses can give filmmakers and videographers a more professional image by providing more options with 35mm lenses and control over the depth of field. Focus Enhancements FireStore Specifically for the FireStore DV Direct-To-Edit Disk Recording Solutions.
In reading about ways to record to tapeless on an XL-H1a, it seems like the fs-cf pro could be a good and not-too-expensive solution, but I haven't found much written about it since it was first introduced.
I am not yet experienced enough with ClipWrap to convert it to a format that iMovie or Final Cut Express will read. Ah, so the non-Pro version of the CF is being phased out, I am guessing, not the whole CF category.
My main goal is to record at 30F MOV, and it looks like the CF series is all that does that?
Derek, I just tried shooting some clips as M2T, and FCP still doesn't recognize them when trying to Log and Transfer. I have an old FS4-HD also, I am considering dropping a SSD drive in it; but not sure what to do about the battery. Well Derek, if the playback isn't that big of an issue, you may find the non-pro version a plus. I would think it would be an adjustment to remember to hit the FS record button instead of or in addition to the DV record start on the XH. If you are recording eternal control mode, it starts the unit when hitting the camera record button. Tim Trott: So they operate independently such that the XH-A1 record start button does not control the FS? Yeah Tim, The Sony HVR MRC1K DTE Recorder allowed you to toggle this control while rolling. BTW, I use the BEC-DVCAMB-HD bracket to mount the FS-CF on my Canon XHA1S (Sony EX1 - EX3 Bracket Panasonic HVX200 High Definition Video Camera Accessories The BEC Group it makes it a little right side heavy; but a very solid braket, adding weight towards the back of the camera. DV Info Net also encourages you to support local businesses and buy from an authorized dealer in your neighborhood.

Sony XDCAM EX Pro Handhelds Sony PMW-300, PXW-X200, PXW-X180 (back to EX3 & EX1) recording to SxS flash memory. I still film large sclae fireworks displays from around 150 to 500m distance and I own two Sony VCL-EX0877 (one in spare). Like all wide adapters, the Century .6X attachment uses the macro feature of the camera to achieve focus. NOTE: The full manual focus mode will not allow the adapter to focus and therefore CANNOT be used in conjunction with wide adapters. Most of the wide 'adapters' do not hold focus when you zoom, particularly when on the long end of the lens, thus you can't zoom in for focus and zoom out.
As long as macro is enabled you should be able to focus manually without having to press the 'auto-focus' button. But there is only slight barrel distortion and no visible vingetting at Z0 - but it's unusable though.
The 16x9 glass might be tilted relative to the camera or the 16x9's optical axis is not the same as the camera's optical axis. This will help in achieving a film-style short focus usually reserved for more expensive cameras and lenses.
Usually, a filmmaker or videographer would have to "cheat it" to get the effect, by positioning the camera further from the subject, zooming the lens in and opening the iris as wide as possible.
A properly lit video or digital film, combined with a skilled director of photography working with a 35mm adapter and quality lenses, can make a project appear more professional. Critics and viewers alike asked if he shot the film on 35mm film, thanks in part to the adapter and lenses.
The relay allows the adapter and 35mm lenses to work properly, and resizes the image to be read properly by the sensor.
They include M2 Encore from Redrock Micro, Letus' family of adapters, the Brevis35 from Cinevate and P+S Technik's PRO35. In the past, the image was recorded upside down, but the manufacturers have since fixed that problem. They allow more control of the depth of field, which can help soften the background image slightly, giving the video a more cinematic look. Each 35mm adapter manufacturer has a list of the lens mounts that correspond with the specific brand. While a Zeiss SLR 50mm lens may cost between $700 and $1100, the Zeiss 50mm Cine lens can cost upwards of $4,000 to $5,000. This will show off more of the shot, but at the same time, the depth of field is in deeper focus, where everything in the frame is sharper.
Always have the camera plugged into a calibrated monitor to ensure awareness to any issues that may come up. In the past, cameras with the ability to change lenses were expensive and inaccessible to most independent videographers.
However, users should know how the adapters operate with their cameras and chosen lenses, practice working with the unit and know the limitations and how to work around them.
I gather I wouldn't get the benefit of bypassing compression offered by Nono Flash or Ki Pro Mini because of the outputs on the XL-H1a. The only thing to consider is if you are shooting in QuickTime format, you must have a current version of Final Cut Pro.
I keep shooting until the battery is almost totally exhausted or the 32GB CF card (about 2h+45m) is full, then download to a laptop. But I'm with you on the metadata info, I do a number of promos, and it would be so nice to at least log some basic info in advance!
It's a lot cheaper than buying the FS300, for example, but it would be something to get used to. I still like this heavy piece of glass, although it is noticeably unsharp at iris open f1.9, especially at all outer parts of the image. Barrel distortion is not that big problem to me, if it bends the ground or water horiziont only. Be sure the macro mode is enabled and the focus gear is engaged to auto focus, rotate ring 180 degrees.

Especially regarding on manual focussing and image sharpness at full width (with the 0.5x I probably could go to Z5 in most cases)? I film at Z0 only but use zoom in-focus-zoom out to get a safe focus in dawn or even darkness.
It increases the value of the project without spending more money on high-end cameras, lenses, gear and crew. The movie was acquired by an independent studio to be released nationwide, and Edwards is being hailed as the next Neill Blomkamp, who wrote and directed District 9.
Prices and features vary between the companies' models, but they all achieve the same goal of providing more depth of field control with 35mm lenses. There are also "step rings" that may be required for cameras whose lens sizes differ from the device. We also recommend getting at least one good zoom lens to cut down on switching out lenses, but an SLR zoom isn't as smooth when zooming in or out as its Cine lens counterpart. With the camera's stock lens, the adapter and the interchangeable lens mounted together, there can be a significant loss of light. With the advent of DSLRs that can shoot full HD video and prosumer camcorders with interchangeable lens capabilities, it's possible to buy an interchangeable lens camcorder for the same or similar price as traditional fixed lens camcorders.
Message me if interested (would prefer to sell in the USA for obvious reasons - not sure about shipping overseas). Although its anly a quick check (1080i at f2.4) with a wild background one can easily see, that the left side is much, much softer than the middle and even the right side is much better.
What this does is hide the appearance of the ground glass, which can look almost like sandpaper when the adapter is turned off. Both offer excellent optics at an affordable price, and filmmakers, directors of photography and videographers seem to prefer either one rather equally. Chromatic aberration, where streaks of color appear in parts of the image, is also a potential problem.
Some popular models include the Canon 5D Mark II and the Sony NEX FS100U, which has the ability to record audio through a standard XLR input. Perhaps if I turned off the wrap thing and capture as M2T clips, I may be able to enter info through FCP log and transfer; but thats the Mac thing. Light vignetting at the edges is no problem too, since I film at night sky only when using the wide angle.
That result can be reproduced on other scenes, with f4 or more - its always the same although its not that visible with more closed iris. Chances are, it may not work perfectly the first couple of times the rig is used, but practice makes perfect.
Zeiss also makes quality SLR lenses, and several 35mm adapter manufacturers sell these particular lenses.
One more thing to watch out for is just how bulky the camera, 35mm adapter and lens rig can be. These kinds of cameras allow you to switch between high quality lenses without losing light or getting chromatic aberrations in your shot. I have to find the focus once, best with zooming fully (with the Sony) or partly in (with the 16:9 which ist partly zoom through), check manually the focus with peaking (almost in darkness, auto focus won't work!) and then zoom fully back. Could this be: heavy softness on left side with 16x9 but moderate softness on the right side with the Sony VCL0877? Most cameras can have the gain raised up to about 6dB without noticeable noise appearing in the image. Run-and-gun shooting can be trickier with this type of set-up, along with the time it takes to change lenses.
We have 2 cameras, so I am trying this prior to ordering the 2nd; but so far, the BEC bracket is a total winner!

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