[Bob Pierce]

Jared,
Yes I believe that’s the ex1 kit. If I’m not mistaken, the optimization kit includes the 77mm thread size for the Ex1 in addition to some optics to optimize the letus for the EX1 lens. You should shoot them an email and ask if there’s any trouble using it with your camera. I’m sure they’d sell you the necessary part to use it if need be.
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.5 – Quicktime 7.5.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.4) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

Thanks for your response Curt. Now that our HD field monitors all have scopes built in (or most anyway) we’re all that much more tuned in to these things in the field. How many people dragged scopes along with them in the olden days (olden days being five years ago)? With keying in particular it’s a great help.
I’ve read the documentation with Keylight and never saw the 74 IRE recommendation.
Thanks again,
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.5 – Quicktime 7.5.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.4) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

I’d like to chime in with what Curt said: from my experience, exposure it absolutely essential to a good key. Underexposure makes for a great challenge, regardless of the format or camera. If you’ve got to boost the gain in post, you are in trouble. Some may think that 80 IRE is extreme, but I don’t think it’s unreasonable. It would be a simple experiment to determine the optimal IRE exposure value for chroma key.

Bob Pierce

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.5 – Quicktime 7.5.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.4) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

Denis, did you check your dvd on a crt? On a computer, lcd or plasma you won’t see the interlacing, which is where those extra frames come into play. I haven’t done a 30p downconvert yet, but I’ve done lots of 60p downconverts and I’m positive that I’m seeing interlacing (coming out of the Kona).

The issue of shutter speed is yet another aesthetic consideration. 60p has a minimum shutter speed of 1/60, whereas 30p is 1/40. The slower shutter gives a bit more motion blur, which some say gets you closer to film look.

If you have access to a camera that would probably be the best way to test your theory.
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.5 – Quicktime 7.5.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.4) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

I think the way Mr. Roberts phrased it is a bit confusing. I think what he means is that progressive frames make for cleaner downconverts, but the the tradeoff is that at 1080 you can only have 30p, which is half the temporal resolution, and so it can result in the studdering (jerky motion) that some of us object to. If you go with 720, you can shoot 60 progressive frames which make for very clean downconverts without the jerkyness. Many perceptual studies have shown that it’s pretty difficult to perceive the resolution difference between 720 and 1080 – especially on screens smaller than 42″, and so makes a great choice if your deliverable is standard def.

That’s why I’m such a fan of 720p60. Do some tests and see what you think. There are no wrong answers, just creative choices. Isn’t this stuff fun??
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.5 – Quicktime 7.5.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.4) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

Congratulations, Rafael on your promotion. Your input has been a great help to me (and lots of other “cows”, I’m sure).
Moo,
Bob Pierce

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.5 – Quicktime 7.5.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.4) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

Stephen,
Don’t mind at all. I edit in a 720p59.94 timeline and either use the Kona card’s downconvert to master to tape or export a self-contained movie (still 720p) and use compressor to whatever format is needed (usually dvds). The question of codec is more controversial. I’ve had good luck sticking with xdcam sequence setting (with the option for “render with prores” selected). If you’re doing lots of compositing and such you might want to either capture your footage to pro res, DVCPRO HD or uncompressed. I recently did a chroma key project using EX1 footage rendered with After Effects Keylight and the xdcam worked as well as any DVCPRO HD footage I’ve keyed with.

There’s lots of other opinions out there, but that’s what’s worked for me.

Good luck,
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.5 – Quicktime 7.5.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.4) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

I believe that where Mr. Roberts speaks of having a “full frame to work with” he means that if, for example you’re in NTSC territory (like me) and you shoot 720p60 (actually 59.94) you have a full progressive frame from which to create each field in the downconvert. As far as the compression pros and cons I frankly think you’re thinking too much there. I think you should look at frame rates as more of an aesthetic issue. If it were me, I’d do as Mr. Roberts suggests, 720p60. I use it all the time and my downconverts are gorgeous.
Good Luck!
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.5 – Quicktime 7.5.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.4) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

Tiffen ND6.
Bob Pierce

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.5 – Quicktime 7.5.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.4) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

I have the Letus and I love it. They offer a kit with the adapters specifically for the EX1, rails and case (I recommend getting the whole kit). I use it mostly for interviews, and man, it’s great to finally get that truly shallow filmlike depth of field. It takes maybe and extra 15 minutes or so to set up. It costs you only about a 1/2 a stop and makes amazing images. Good luck!
Bob Pierce

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.5 – Quicktime 7.5.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.4) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1