anthony_lewis1

<p>I use the 58mm on a Sinar F2 and P2 - no problems. A Toho - the best backpacking camera - will also just focus a 58mm if you are into cameras for backpacking.</p>

 

<p>William,<br>

That's exactly what I meant! </p>

<p>Christian,<br>

Thanks for the link. Yeh, I know people are doing these sort of things to the cameras - removing mirrors and installing PL mounts. However I wish to achieve the same thing by simple changing over the lens mounting plate which is held on by 4 screws - and being able to revert back to EF at any time. I feel this can be done, and I now know the mirror can be held permanently in the up position while ever the camera is in movie mode. However I now feel the biggest issue is the mounting plate will have to be 2mm thinner that it is now, which appears to be 3-4mm thick. Whether there is enough strength in what is left is the problem.<br>

William, I already own very high end, HD & Digital Betacam cameras.</p>

<p>John,<br>

I have considered going to Nikon lenses - but hate the idea of counter rotating focus. If this was a project for still photography then I would not do it - as we need the mirror for still photography - but not for movie making! But now people in my position, buy the 5D ii for movie making only - where auto focus is basically a useless feature, and lenses where the focus ring constantly rotates are also not very practical.<br>

If I can get my beautiful FD lenses on this camera - without machining the camera or my FD lenses then I will be a very happy guy.</p>

<p>Thanks for your responses so far. Sorry, Bob I was going from memory on flange focal distances from your website - I should have looked it up. And thanks very much for your expert advice.<br>

The issue you raised of the barrel diameter of the FD lenses is correct. One would also have to shave 2mm of the EOS lens mounting plate, making it flush with the FD mounting plate. This would make it quite thin, but in principle - still a possibility.<br>

Also the distance the FD lenses projects into the EOS body is problematic. The stop down lever projects quite away and I see as the biggest issue. This is hard to put into words, but if you revolve the FD lens mount by a few degrees from its normal position and put this lever right into the corner of the mirror box - it may just clear.<br>

But in the end if it still does not clear and/or other rear lens elements do not clear the mirror, then you would have to depend on mirror lock-up. This is also problematic as the mirror automatically closes after about 1 minute if you do not Record. I don't think this can be overridden. In this case I would need to find someone who could alter this in the firmware - but still a possiblity.<br>

The point of this post is for me to find out from you, the experts, whether this concept is feasible, and if there is a fatal flaw in my thinking. (My wife and kids find lots of fatal flaws in my ideas). So I appreciate all critical responses. If this does appear to be possible, then I will grab the parts and the micrometer and start work.</p>

<p> </p>

<p>I bought the 5D essential for its movie capability. I have a excellent set of FD 'L' primes, which being manual focus, are the prefect lens for movie mode. I know the FD to EOS adaptors are not very good, particularly at wide apertures.<br>

But why can't I modify the 5D to take FD lenses? Looking at this problem, it appears it could be done by a specialist machinist.<br>

Firstly I buy the 5D lens mounting plate as a spare part. Then I wreck an old FD camera for its lens mounting plate. The machinist will machine the FD mounting plate so it fits inside the EOS plate. Then the FD plate is welded to the EOS plate with the flange on the FD plate offset by 2mm. (EOS flange dist: 46mm & FD flange dist: 44mm). There appears to be just enough room inside the 5D body to take the FD plate 2mm further inside the body - the electro contacts would be the closest!<br>

I then have this fitted to the 5D body - there appears to be 4 screws to change the lens plate over. The mirror should not be a problem as it is locked up in movie mode. In theory the 5D body and the lenses have not been modified at all - which is a good thing as the 5D can easily be reverted to the original EOS lens plate.<br>

I sense there has to a a good, and perhaps very obvious reason why this cannot be done - otherwise it would have been done before.<br>

Any comments?</p>

 

<p>I have the the Sinar F2 and the Toho FC45X. For backpacking just a few kilometers the F2 is fine. For serious backpacking - particularly overnight - the Toho is the only way to go. <br>

I love my Toho, big range of movements, takes wide and long lenses, and very light and simple. Its hard to find a camera to beat it for serious backpacking. I take five lenses, 80mm, 110mm, 150mm, 240mm and 450mm. It will even take a wider lens - I've hung a 58mm off mine. It is a must to get a Maxwell screen with one though!</p>

<p>Thanks Ken, what you say makes a lot of sense. For the differences in cost I wonder whether it is worth the extra expense - but I know in years to come I would regret not buying the 'L's- so maybe I should just dig very deep!</p>

<p>No, not really Mick. My question is, is there be any noticable difference in resolution between a 'L' series prime lens, and a non 'L' series prime lens when the camera is used in movie mode? </p>

<p>I am basically using a 5Dii in movie mode, not for stills. Do I need 'L' series primes, or are they overkill in movie mode?<br>

HD movies are 1980x1080 pixels, or about 2Mpixels. That is very roughly about 1/10 of the capability of this camera, 21Mpixels.<br>

What I am asking would the non 'L' primes be just as good in movie mode - could anyone pick the difference? Also with movies, it would be of no disadvantage to shoot with a slightly slower lens, ie 85mm f1.8 or the 50mm f1.4, as DOF would be impossible at f1.2 - not that there is much difference here.<br>

If there is no difference one could save a fortune by using non 'L' series primes in movie mode. Can the experts tell me what they think? If the 'L' series primes are better in movie mode, then why?<br>

Thanks</p>

<p> </p>

<p>

I am not incredibly proficient at Silverfast as yet, but this is my process. I mainly shoot negatives, Delta and Porta 160. I scan them in Silverfast Ai in HDR mode, and covert them to positives in Silverfast HDR. However when I import my scanned negatives into HDR they are all very dark. I have read this is normal but there is no information on what to do next.<br /><br />I have read that Silverfast Ai should be set to Gamma 1 - and this actually does appear to work very well. Some people tell me that Ai should be left in negative mode for best results, but is this true? Should 'HDR for output' box be ticked or not. Everyone says something different.<br /><br />I tried to put a post on Lasersoft forum about this but the moderator rejected it saying it was a technical support question. But it is not, it is all about the correct settings. If Lasersoft had a movie or tutorial about the optimum way for this process then I wouldn't have any problems.<br /><br />Can anyone enlighten me as to the settings that should be put into both these programs to achieve optimum results?

</p>

<p>I have a similar problem. Can anyone tell me what is the diameter of the opening size of the Sinar Copal shutter?</p>

<p>Two points.<br>

Firstly, whatever digital gear you buy, you will be replacing it within 5 years - that includes all your post computer gear - the lot. To be replacing all the capital I've invested in my hobby every five years, well, I couldn't do that to my family. <br>

To all those who believe cameras like the 5D ii (I also own one) will last along time, then just remember the next big thing our manufacturers are about to unleash are HDR cameras. That will make all digital cameras, including all those $40,000 digital backs, obsolete almost overnight. <br>

Secondly. The digital proponents claim all sorts of advantages of shooting digital. I can think of only one real advantage that digital technology has achieved, and that is the ability to view your image immediately. Other than that, there are no other real advantages.<br>

For our manufacturers to have invested billions of dollars in digital technology over two decades, and only achieved one real advantage, then I think this is an abysmal failure.<br>

There is a equal parallel in the film industry, which is going electronic. Here they have achieved more than the 10 minute film roll. To record for an hour or more is a great advantage, but since this is about all electronic filming has achieved, then this is also pathetic with the investment involved.</p>

<p> </p>

<p>Like the simplicity of his website as well.</p>

<p>Guys, thanks for your responses. It's exactly what I need to know. Shooting image file size, plus how to resize. And thanks for the programs of how to do it. Joseph, I had downloaded Quicktime Pro before your post came through. Pro worked very well and was easy, but I do like the features of VirtualDub. One of the problems I have with time lapse work is whether to leave the camera on auto exposure or manual. I have read that it is better to leave it on manual, but you can bet your life that as soon as you walk away a cloud will appear from nowhere. Also what happens when it goes from day to night. If your camera is on manual, then I could not imagine that you could change aperture in small enough increments over a couple of hours as the light changes completely. So I will download Virtual Dub.<br>

If anyone can give me any hints on the practice of time lapse then that would be great as well? Thanks for your responses.</p>

<p> </p>

<p>OK I'm a dedicated film shooter who has just bought my first digital camera, the Canon 5D II - please don't tell them over at the large format forum!<br>

I have bought it mainly for time lapse photography for HD television. I have the TC-80N3 and it is easy to shoot the time lapse shots. But the next stage has got me, but I'm sure is very basic to most of you. How do I convert these time lapse shots to video at 25 fps at a quality suitable for HD television? What program do I use, can it be done in the EOS utility program, is Final Cut Pro suitable, or any of the Adobe CS programs any good? In the end I am just after the best way?<br>

Also what file size should I be shooting for this purpose, Jpeg L, M, or S? I feel many of you will tell me I should be shooting RAW, but I don't know how to process this as yet - that's my next lesson. <br>

I will be appreciative of your help and suggestions, and No the 5D won't convince me to give up film - at least I hope not!</p>

<p>The 'brooding vintage Germanic quality' is the one I'd go for.</p>

<p>Vick,<br>

Can you let me know which Smith Victor light you are referring to? This is exactly what I would like - 600watts of floro light. Also what globes are they? All I can find on their website is a light that takes 3 x 26 watt floro globes.</p>

<p>Steve,<br>

I have no idea, but if anyone would know, then Mainline Photographics in Sydney, or perhaps even Baltronics, or CR Kennedy would know. Baltronics and CR Kennedy have there own service departments (are in Melbourne) , and use to sell LF gear and lenses. <br>

If you find out, can you post it here as I wouldn't mind knowing myself? One day I will have the same problem.</p>

<p>I've got the Microtek F1 - great so far - but I'm new to scanning so I have nothing to compare it with.</p>

<p>

 

<p>'You need a fresnel lens and/or a Bright screen'. Sorry, I shouldn't have put the 'and ' in there - I just meant for you to consider both.<br>

Maxwell make a bright screen optimized for wide angle lenses. You need either a fresnel or a Maxwell wide angle bright screen. The Maxwell bright screens are superb, but how their wide angle version compares with a fresnel I don't know. I would be interested to find out if anyone has any experience? Also, I do not know how 'long' a lens can be used with Maxwell wide angle version - which may limit their practicality a bit.<br>

<br /></p>

 

</p>

<p>You need a fresnel lens and/or a Bright screen. Google 'Maxwell bright screens'. They seem to be one of the best.</p>

<p>Don't forget the 80mm Super Symmar aspheric XL. They are great with 211mm image circle. Hard to beat.</p>

<p>Jennifer,<br>

Either the Fuji A 240mm f9 as others have suggested, or the Schneider 110mm Super Symmar XL aspheric. Which one of these you buy, the other will be your third choice.<br>

With your 150mm you will end up with a very good lens set.</p>

<p>Have just received my Microtek F1 and within one day i am producing beautiful scans. It comes with a 617 holder. It is early days for me and I know this scanner had software issues when first released. So far great results - no problems. I shoot neg film and it scanned very easily and produced great pictures right from the start. I am thinking of upgrade to Silverfast HDR software to take full advantage of the neg film i shoot. That's my two cents worth.</p>