| | | | Re: Questions regarding T-Stops
by Rick Wise on Jun 17, 2012 at 6:39:24 pm
in the Cinematography Forum
Since the lenses you are looking at have ONLY T-stops, you can be comfortable knowing that the f/stops are almost identical and therefore there is no significant difference between them. Angelo's post lays it all out very nicely. | | | | |
| | | | spot on lens
by bart kleeven on Jun 17, 2012 at 10:42:58 am
in the Adobe After Effects Techniques Forum
I did a music video shoot in which afterwards i saw that on one of the lenses was a see through dust particle (the black dot on the picture)..It stay on the same spot, so it does not move.
Does anyone know a way to remove this in after effects, o | | | | |
| | | | Re: Questions regarding T-Stops
by John Bauwens on Jun 17, 2012 at 3:55:13 am
in the Cinematography Forum
Thanks a Rick. The lenses I am looking at are mostly the Zeiss CP2, which seem to only have T-Stops. So these are just more accurate, geometrically based measurements of light rather than the F-stops which might be a bit off.
Thanks again | | | | |
| | | | Re: Questions regarding T-Stops
by Angelo Lorenzo on Jun 17, 2012 at 3:34:06 am
in the Cinematography Forum
While f/stops are a simple ratio of the iris size to focal length, t/stops are calibrated "light transmission" stops. T/stops take into account the amount of light lost in lens design.
In other words, a t/stop of t/2.8 will transmit the same amoun | | | | |
| | | | Re: Questions regarding T-Stops
by Rick Wise on Jun 17, 2012 at 3:30:41 am
in the Cinematography Forum
Professional older lenses, especially older zooms, are marked in both T-stops and f/stops. We use f/stops to calculate depth of field, and T-stops to set the iris. Example: Your lens is an f/2.8, the widest it can go. Your meter tells you to expose a | | | | |
| | | | Questions regarding T-Stops
by John Bauwens on Jun 17, 2012 at 2:47:24 am
in the Cinematography Forum
So I come from more of a post production background, but I find myself having to shoot stuff more and more. I have just started using DSLRs, and with that I have started working with better and better lenses. I am trying to figure out how to use T- | | | | |
| | | | Blog: Photofocus Podcast June 15
by Richard Harrington on Jun 16, 2012 at 12:24:00 am
in the COW - Blogs Forum
Hosts Rich Harrington and Scott Bourne discuss a variety of topics including:Apple AnnouncementsAperture 3.3Lightroom 4.1Rich's visit to HPImportant hardware for upgrading photo editingNew lenses from NikonOlympus point and shoot camerasSmart phone p | | | | |
| | | | Photofocus Podcast June 15
by Richard Harrington on Jun 15, 2012 at 5:24:00 pm
in the Forum
Hosts Rich Harrington and Scott Bourne discuss a variety of topics including:Apple AnnouncementsAperture 3.3Lightroom 4.1Rich's visit to HPImportant hardware for upgrading photo editingNew lenses from NikonOlympus point and shoot camerasSmart... | | | | |
| | | | How do I clean FS-100 imaging sensor?
by John Brune on Jun 11, 2012 at 8:25:50 pm
in the Sony NXCAM Forum
My FS-100 image sensor has dirt on it that won't blow off with air or come off with a lens brush. What are the do's and don'ts of cleaning this sensor? Is there a cleaning kit? All of my daytime shots have little black specks on them from this pro | | | | |
| | | | Re: Reduce/remove chromatic aberration in Apple Color?
by Joseph Owens on Jun 11, 2012 at 4:04:21 pm
in the Apple Color Forum
[Magnus Larsen] "multiple shots with chromatic aberration"
If you are referring to "longitudinal spherical aberrration", which is typically a fault with inferior zoom lenses, the short answer is "no", as the degree of correction needed between the | | | | |
| | | | Re: FCP Filter effect
by Shane Ross on Jun 8, 2012 at 8:45:37 pm
in the Apple Final Cut Pro Forum
That's called a LENS FLARE, and is most often done in camera. Meaning that it is actually caused in the camera by the light shining into it. Some people use special lenses to enhance this effect, like JJ Abrahms, for example.
Filters for doing t | | | | |
| | | | Re: Canon 5D Mark III v. Panasonic Ag-AF100
by Keith Lester on Jun 6, 2012 at 10:22:40 pm
in the DSLR Video Forum
Hello, I purchased a Canon 5DMark II in 2008 and used it for several years on professional projects as well as using many Panasonic P2 cameras over the past five years and now own an AF100.
These cameras are all different, but have benefits that mak | | | | |
| | | | Re: Which focal length to use for short film?
by Rick Wise on Jun 6, 2012 at 5:37:37 pm
in the Cinematography Forum
Here's a very brief run-down of focal lengths. First off, they effect field-of-view. As you have discovered, when shooting in a cramped space, you are usually forced to use a wider lens to get a field of view that shows what you need to show.
But | | | | |
| | | | Re: Canon 5D Mark III v. Panasonic Ag-AF100
by Brent Dunn on Jun 6, 2012 at 3:54:18 pm
in the DSLR Video Forum
A camera that shoots 4:2:2 color space is ideal for keying. DSLR's are not the best for this.
I was a fan of the Panasonic AF100 until Sony announced their new camera, due to ship in July, the FS700U. It's a bit more expensive, but an awesome ca | | | | |
| | | | Which focal length to use for short film?
by Jon Gianelli on Jun 6, 2012 at 4:30:18 am
in the Cinematography Forum
I am a huge fan of Spielberg and Wes Anderson and love the looks of these two very different directors. I've studied videography, editing, and directing for many years but never have gotten a firm grasp on focal lengths. How do I achieve the look of | | | | |
| | | | Re: Semi-OT: Color shifts when wearing eyeglasses?
by Rick Lang on Jun 5, 2012 at 9:26:07 pm
in the DaVinci Resolve Forum
Robert, you should ask your ophthalmologist if your color perception may be in part due to your eyes (without wearing your glasses).
I suspect when we get older, the proteins in our eyes' fluids and lenses may even be less than perfect transmitt | | | | |
| | | | Re: Semi-OT: Color shifts when wearing eyeglasses?
by Joseph Owens on Jun 5, 2012 at 4:45:40 pm
in the DaVinci Resolve Forum
I've always made it perfectly clear with my optician that my lenses have to be absolutely neutral, and so far, so good; the coatings have done their job. However, since my near-vision does not actually require correction, I find myself grading witho | | | | |
| | | | Re: Semi-OT: Color shifts when wearing eyeglasses?
by Lee Niederkofler on Jun 5, 2012 at 11:58:15 am
in the DaVinci Resolve Forum
I had the same problem a half year ago. I couldnt grade with them, the skintones were way too red/magenta...
I got a refund for the glasses because when I ordered them, I especially said that I couldnt use glasses when they change my color perceptio | | | | |
| | | | Re: Semi-OT: Color shifts when wearing eyeglasses?
by Juan Salvo on Jun 5, 2012 at 4:17:31 am
in the DaVinci Resolve Forum
It's kind of funny, but I noticed something similar with my glasses. Turns out almost all prescription eyeglasses are made with polycarbonate lense, which tend to have a high chromatic aberration value.
My solution; I ordered a set of actual glas | | | | |
| | | | Semi-OT: Color shifts when wearing eyeglasses?
by Robert Glanns on Jun 4, 2012 at 10:31:55 pm
in the DaVinci Resolve Forum
Because I'm finally getting old, I recently for the first time in my life got prescription eyeglasses for my near-sightedness and astigmatism.
I only noticed to my shock today that when I'm wearing my glasses, that colors are subtly shifted toward | | | | |
| | | | Re: Canon 5D Mark III v. Panasonic Ag-AF100
by Jason Jenkins on Jun 4, 2012 at 9:09:49 pm
in the DSLR Video Forum
[Laura Gruszczynski] "He really likes the cinematic look of DSLR footage and the fact that we can use photography lenses."
You can get all that, plus easy in-camera audio with the AF100. You can get good audio with the DSLRs, but as you know it r | | | | |
| | | | Canon 5D Mark III v. Panasonic Ag-AF100
by Laura Gruszczynski on Jun 4, 2012 at 7:39:13 pm
in the DSLR Video Forum
Hi,
I work in a small 3 person media group within a large corporation and we currently shoot many of our corporate videos using the Panasonic HVX-200.
Late in 2010, my supervisor bought 2 DSLRs (a 7D and a 5D) and all the rigging that goes with the | | | | |
| | | | News: ARRI ALEXA Shines at Cannes
by Cow News Droid on Jun 4, 2012 at 3:42:55 am
in the NEWS: Product News Releases Forum
(Munich, Germany--June 4, 2012) For the third year in a row, ARRI played host to the Cannes International Film Festival Director’s Fortnight Happy Hour events, bringing together directors, producers, cinematographers and industry professionals from a | | | | |
Podcasts | | | | dslr video podcast
Filtering the Shot - When to Use Filters and Matte Boxes
Since a filter is an essential investment into your lenses, glean from the pros with detailed advice on using filters and matte boxes. Join Richard Harrington and Robbie Carman as they discuss the the finer points of DSLR photography. | | | | |
| | | | dslr video podcast
Low Light Shooting Strategies
In this video tutorial, Robbie and Richard discuss low-light shooting strategies, including controlling your aperture, ISO, lenses, and shutter speed. | | | | |
| | | | dslr video podcast
Understanding DSLR Frame Sizes
Richard and Robbie tackle a common question dealing with sensors, full frame vs crop sensors. They will discuss the impact of using different type of sensors and lenses with different cameras such as the Canon 5D MK2 or the Nikon D3S. | | | | |
| | | | dslr video podcast
Understanding Aperture
In this DSLR podcasts Richard and Robbie discuss aperture using various lenses on DSLR Cameras in different shooting situations. Some topics covered are depth of field, lighting, zoom and shutter speed. | | | | |
| | | | dslr video podcast
Zooms Vs. Primes
In this episode of the DSLR Podcast Richard and Robbie discuss when Zoom Lenses are appropriate vs when Prime Lenses work better. | | | | |
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