Here at FreshDV we talk a lot about using 35mm lens adapters and the “film style” workflow in your digital productions. Daniel Boswell of DVArtistry is a wedding videographer that has adopted using the Letus adapters in his wedding films for quite some time now. When the Extreme hit the market, he snapped one right up. He’s now shooting with the LEX + Sony EX1 combo and discusses it in the current issue of EventDV. You can read it online here.

Since it’s introduction several years ago, Redrock Micro has quietly continued to improve and update the MicroFollowFocus. We have previously reviewed the unit and reported on the improved gear lash, dampened wheel, and shaved-down rod support last year. I just got my hands on the latest Redrock Micro Follow Focus revision and noted that this update adds a stiffer support arm to add rigidity to the design. The arm is a thicker steel material, and rises at a 90-degree angle instead of the previous revision’s 45-degree riser. It is noticeably stiffer overall. And I was pleased to note that Redrock hasn’t changed the pricing with this latest update…the Follow Focus bundle with lens gears is still $645. Good form. More detail pictures of the new design below. Continue reading ‘Redrock Continues to Refine the MicroFollowFocus’

When Redrock Micro announced development of the MicroX flip unit for the M2 35mm adapter at NAB 2007, the online community was abuzz. Since then the market has been all about flip units; a properly oriented image is rapidly becoming the de-facto standard for 35mm lens adapters. Redrock was pretty quiet about the MicroX while it was in development, but we are happy to report that FreshDV has obtained new information, an exclusive image of the finished product, and a final ship date. With a debut price of $345 for M2 owners (must provide serial number) and $445 for 3rd-party adapter owners, the MicroX begins shipping on March 24th, 2008. Redrock claims the unit provides improved image and edge sharpness and a universal achromat for both SD and HD camcorders. The kit will include the following:

* The microX image flip accessory,
* A new high performance optical achromat designed specifically for the microX
* A riser plate for adjusting your existing microX rod support system to the correct height
* A newly designed reinforced hard mount kit that also provides a “lock down� once your microX is correctly configured
* Access to a step-by-step video tutorial on how to upgrade your system

Redrock has not recommended the MicroX for use with Sony HDV cameras with a filter size of 72mm+ (like the Z1, Z7, FX1, and EX1). A 2nd version of the MicroX is in development specifically for these camcorders, expect a release date to be announced soon. The MicroX is fine for use with the Sony V1, A1, and other - 72mm Sony HDV cameras. For more information on the MicroX, stay tuned at Redrock’s website.

After all but disappearing for over a year, Cinemek has updated their website and is showing off their new G35 adapter system for 35mm still lenses. As with earlier pre-production models tested by Macgregor and others, the G35 will utilize a non-flipped static ground glass design. They are claiming 1.4 stops of light loss and no moving parts in a self-contained unit. A Nikon lens mount will be the initial offering, with camera mount options for the Panasonic HVX200, DVX series, and Canon XHA1. I see from the gallery that the HVX200 mount wraps around the zoom ring much like the P&S Technic Pro35, which is a great design. Cinemek says that a Canon EF mount and fittings for 72mm and 68mm thread cameras are planned. They plan to take pre-orders soon, but have not yet announced a specific ship date or pricing.

The Sony HVR-Z1U and HDR-FX1 HDV cameras are basically an identical camera with the exception of a few key features. They are built on the same 3-CCD system, tape transport, and 4.5mm to 54mm lens (32.5mm to 390mm equivalent 35mm FOV). Z1U is the “pro” model and adds XLR audio, a 50Hz mode, and a number of additional menu settings and firmware-related tools (addl. Cine gammas, etc). For a complete breakdown of the two models, check this chart.

The point of this post is not to address the featureset of two HDV cameras that are getting somewhat long in the tooth, it is to talk about something that I haven’t found anywhere online before. One of the differences between the two cameras is the fact that the Z1U shows a numeric zoom scale on the display. With the lens at full wide it displays Z00, shows Z50 at about half zoom, and Z99 at full telephoto. In contrast, the FX1 simply displays a visual zoom scale indicator on screen. The only way to accurately return to a certain focal length is to use the physical zoom ring, which has a limited scale of mm markings on it. This scale matches the markings on the Z1U’s ring, which can be correlated to the internal numerical percentage scale. In recent testing it became necessary to determine what that correlation was, so without further ado here are the equivalent Z-numbers that relate to the Z1U’s zoom ring markings (and therefore also correlate to the markings on the FX1).
Continue reading ‘Sony Z1U Equivalent Zoom Percentage Scale on the FX1′

This DVinfo user has fitted his camera with the HV20’s full zoom-through Canon WD-43 wide angle converter and a Canon XHA1 lens hood gaff taped on. It’s a unique solution that looks surprisingly sleek.

This is a very short but very interesting demo of an experimental technology that Adobe’s Photoshop division is playing with that allows you to selectively control depth-of-field and focus points in post-production. Maybe someday we’ll see this trickle down into VFX.

Canon’s amazing 1200/5.6L USM tele still lens is a beast that weighs in at 36lbs, is over two and a half feet long and sports a massive 9″ wide front element. Canon builds this lens on a special order basis and since 1993 has shipped less than twenty of them. No word on what it costs new (if you have to ask, you probably can’t afford it), but B&H does have one used 1200/5.6 for sale for a cool $99,000. Just in time for Valentines Day…

“The viewfinder is surprisingly bright, and though somewhat sluggish as compared to the latest-generation Canon EF lenses, the 1200 was usually able to nail the focus on the first pass. The hard part is figuring out what you’re focusing on because the angle of view is so narrow. If you’re not familiar with the landscape you’ll find yourself peering out over the top of the camera every so often trying to figure out what you’re looking at. As for image quality, even wide open it’s quite lovely. Stopped down to f/8 and f/11 it’s actually quite remarkable. How remarkable? From midtown Manhattan we were able to read the street signs on the corner of JFK Boulevard East and 43rd St. in Weehawkin New Jersey when viewing image files at pixel resolution.”

“…Apart from a few minor cosmetic blemishes, this particular lens is extremely clean inside and out. Included with this lens is a leather slip-on ‘lens cap’, a fitted aluminum trunk case, and a prodigious measure of ego satisfaction. Pack mule not included.”

Simply amazing. I’d love to see this on the front of a 35mm adapter rig…

Cinevate Brevis Flip 35mm Lens Adapter Review (Part2 of 2)
By Matt Jeppsen

Cinevate
www.cinevate.com
(647) 723-2664 (Canada)

The following is Part 2 of FreshDV’s two-part test and review of the Cinevate Brevis flip adapter. Today we cover Image Performance and Workflow, Accessories and Miscellaneous and finally Summary and Conclusions. You can read Part 1 here. Download the supplementary archive of all referenced charts below.

Image Performance and Workflow
Having a flip option solves one of the biggest issues in the 35mm adapter shooting workflow. Without an adapter that inverts the image correctly, users are forced to find inventive ways to monitor and frame their images. Many arrive upon the solution of a production monitor like the Ikan or Marshall, mounted upside-down on an articulated arm. On some cameras you can use a strong neodymium magnet to engage an LCD’s forward-facing flip, while others even do minor surgery on a camcorder to engage that switch. I should note that with any 35mm adapter it is highly recommended that you use a high-quality external monitor to check critical focus…when you are shooting wide open on a fast telephoto lens DOF can be as shallow as mere inches and minor focus errors will ruin a shot. That being said, it is not impossible to use only your camcorder’s LCD, particularly when it is as sharp as the EX1 or even the Z1U. And using an adapter that flips the image really opens up this option for users.
The other area of workflow that the flip improves on over the Pre-flip is post-production. When shooting with a non-flip adapter, footage has to be manually inverted in your editing software. This is relatively simple to accomplish, but can introduce other challenges. For instance, when you place inverted footage on a Final Cut Pro timeline, the thumbnails on the clips remain upside down. This is a minor annoyance, but it really can impact the speed of editing if you have learned to lean on that particular feature. Shooting with the Brevis Flip is elegant in the sense that you don’t have to mess with these workarounds and patches. It just works.
Continue reading ‘FreshDV Hands-On Review - Brevis35 Flip Adapter (Part 2)’

FreshDV took a close look at a number of popular follow focus units in 2007. We also spent some time working with the Bartech Focus Device (BFD) from Bartech Engineering. The BFD is a wireless remote-controlled system that drives the 35mm lens on your camera rig. It allows Steadicam operators to move freely, can help control a camera mounted on a jib, or simply frees up space next to the operator in tight shooting locations. Bartech’s system is designed to work a variety of motors, but they recommended that we review the system with the M-One motor from Palomar Engineering. We found the M-One to be a compact and lightweight design with incredible torque and accuracy. Bartech claims that they have not found a lens that the M-One motor cannot move. It can move very fast when you need it to, but most importantly it responds to remote commands immediately and without drift. In the following video review, Kendal Miller shows how the Bartech BFD system assembles and mounts to your camera rig, and takes the unit through it’s paces.

Traditionally, remote focus solutions are pricey. There are only a few options available, and the BFD package is arguably the most affordable professional solution on the market today. It is also surprisingly well built, as you will see in the video. If you tuned in last year for our extensive NAB 2007 coverage, you may remember Bartech’s Jim Bartel from this segment. You may also be interested in our informative three-part series on the role of a First AC and Focus Puller.
Continue reading ‘Bartech Remote Follow Focus System Review and Setup’

Cinevate Brevis Flip 35mm Lens Adapter Review (Part1 of 2)
By Matt Jeppsen

Cinevate
www.cinevate.com
(647) 723-2664 (Canada)

The following is Part 1 of FreshDV’s two-part test and review of the Cinevate Brevis flip adapter. Today we cover an Introduction, Imaging Elements, Design and Construction, and Setup and Configuration. Read on for Part 2 which addresses Image Performance and Workflow, Accessories and Miscellaneous and Summary and Conclusions.

Introduction
The last few years have seen an explosion in the use of small-format HD and HDV cameras for production. So-called “prosumer” and even some consumer-oriented camcorders are in wide use by amateurs and professionals alike. One market that has also been growing in leaps and bounds are 35mm lens adapter systems. This review takes a detailed look at the latest revision of Cinevate’s lens adapter line, the Brevis Flip. In addition, we will examine the latest in their series of swappable imaging elements, the CF1Le diffuser.
Continue reading ‘FreshDV Hands-On Review - Brevis35 Flip Adapter (Part 1)’

Thanks to a tip from Joel Peregrine, I just ran across the Modo Steady 585 multi-purpose device from Manfrotto. This thing is a very unique little stabilizer/tripod/gizmo for sub-2 lb camcorders. It weighs just over a lb and supports up to 1.7lb max capacity. You can use it as a “gliding” stabilizer (reminds me of the Steadicam Merlin), a chest brace, and in low and high tripod modes. There is a video of the Modo in action at modo.manfrotto.com.

Guess what killer camcorder weighs 1.2 lbs? Yup. The $689.95 Canon HV20. To enhance the gliding effect, pick up the Schneider Optics .55x Wide Angle Adapter. The lens weighs just 4.8 oz and can be reversed and used as a fisheye. Sweet! You’ll just need a 58mm-43mm ring to adapt it to the HV20.

A slightly cheaper (and much heavier at 1.1 lbs) option is Canon’s WDH43 0.7x WA lens for the HV20. Note that you would be technically overloading the Modo Steady device with this lens on the HV20. Since the lens reportedly weighs over a pound, I am unsure if it would work at all with the Modo Steady + HV20.

Indie4K has a great post up on the benefits of the Birger electronic lens mount for Canon EOS SLR lenses in concert with Red’s Digital Cinema camera.

“…for the price of just a Red 18-50mm zoom, we can get the Birger mount, plus several primes and zooms. For the price of the 18-50mm zoom + the price of the 50-150 zoom, we can buy practically every current-model EOS lens we can ever imagine wanting to shoot with.”

“…the Birger mount can control focus as well as aperture, using the built-in focusing motors of EOS lenses.”

“Birger’s system will be controllable via Bluetooth. Imagine figuring out your focus marks using Red’s “magic focus assistâ€?, and then programing them into a laptop and cueing them at the appropriate times with a couple of key presses. Or imagine a “smartâ€? autofocus system based around range-finding equipment, which could rack focus to track an object through space far better than any human focus puller…”

I believe the Birger mount project started out aimed at 35mm adapter users who wished to use EOS lenses. Now it seems it’s been repurposed to interface with one of the hottest digital cinema cameras on the market. Options are a good thing for filmmakers, and it will be interested to see how this product develops. You can reserve a Birger mount here.

NYT has a interesting video segment up, a short scene from “Revolver,” Guy Ritchie’s new film from across the pond. He talks about how they lit the scene with four 20K lights (!!!) and used a “special lens” that allowed them to keep both near and far subjects in focus. Sounds to me like a lens with an absurdly high f-stop rating. Ritchie also outlines the point he was trying to convey in the scene. It’s interesting to note that the Times gives the viewer the option of mixing the director’s voiceover with the film audio as they please.

(Via Flippant News)

The guys over at Letus have had a very busy fall. First they announced the shiny new Letus Extreme, a 35mm adapter with built-in prism flip and a mere half-stop of light loss. By most reports, the Extreme has been very well-received in the video community. Not content to rest there, Letus has just announced the Letus35 Mini, a 1lb 9oz compact lens adapter designed for small cameras with a filter size under 43mm. Weighing just half of it’s big brother Extreme, the Mini should be able to be used without rods or additional support, though a custom support bracket is available. As with the Extreme, Letus states that this adapter has “absolutely no vignetting” and excellent edge to edge sharpness. Mount options include the Canon FD, Nikon AI, Canon EF (EOS), Pentax K mount, Minolta MD or the optional PL mount and OCT19 mounts. Check out this image for a side-by-side size comparison of the Mini vs. Extreme.

I’m told that a supply of adapters are currently in stock and available to ship in the next 3-5 days, the price is listed at $1,099.00. Just in time for Christmas…you can put it on your shiny new Canon HV20 camcorder. Put those two together and you’ve got a 35mm lens adapter and HD camcorder for under $1900.00. That is incredible. Independent filmmakers rejoice!

We previously mentioned the Extreme here. If you are interested in seeing some beautiful Letus Extreme footage, definitely check out what Phillip Bloom shot recently on the EX1.