[Bryan Maslin]

A friend helped me discover the problem. The fixed pin on the lens adapter needs to go to a specific side of the movable iris pin on the lens. Simply lining up the red dots on each when connecting will create the problem I experienced. In any case, it was operator error.

Again, thanks for your help.

[Bryan Maslin]

Chris and Noah, I appreciate your help.

The camera’s settings appear to default to all-manual when an adapter ring is installed (as I expected). With the lenses off the camera, the Canon 50mm’s iris won’t adjust at all…? The Vivitar zoom’s iris will adjust off-camera, but not on. The Novoflex FD adapter ring is a fixed piece of metal with no adjustable parts. I did another test of both lenses today with the same results.

[Bryan Maslin]

All good information – thanks everyone. I bought the 100 – but won’t get it for a month, it’s so popular.

[Bryan Maslin]

I recently shot a project with this camera that required a lot of greensceen, and if you light it properly you should be fine.

[Bryan Maslin]

Hi Bill –

My editor tried your solution, and for output to tape, it’s a definite improvement – thanks! We’re now trying to create SD digital files for upload / broadcast, and DVDs, where we won’t be going through the AJA card / breakout box. Any thoughts on 29.97 workflow for that?

[Bryan Maslin]

Thanks Ernie and John. I should have clarified. I shot with a 1/48 shutter, viewing through a Panasonic BT-LH900 monitor. The spot is being posted in Final Cut Pro, and was edited in a 30 frame timeline for broadcast. My editor tells me that the motion artifacts were more pronounced after being downcoverted.

[Bryan Maslin]

I’ve used a QuickStream several times with my 100A. It doesn’t work consistently. There’s a particular cadence you need to go through when powering it and the camera, and my experience has been that when the camera is powered down, or even goes into standby, it loses communication with the drive. You need to keep your eye on the drive constantly.

I’m about to go into a series of road jobs where we’re relying on using it. I’m about to buy a 100B, and hopefully it will work more consistently with that camera.

[Bryan Maslin]

Thanks Leo.

Mariusz actually cornered the problem for me. I was using the color correction settings to enhance chroma. He suggested using the matrix adjustments instead. It worked.

I thought that the matrix was supposed to be primarily used to bring up one particular color or bring down another, and that the color correction was supposed to be used to enhance overall chroma. According to Mariusz, it’s the reverse. Seems to work for me.

[Bryan Maslin]

Thanks for your replies, Leo.

I have the Goodman’s Guide. I’ve read it pretty thoroughly, and have used it to create many of the settings that you refer to (Film Rec, gamma, etc.). I have the gamma, detail, and other functions where I want them, and can see changes when using the camera menus. I also firmly believe in using a scope and charts to create a “baseline” look for the camera, which can be saved and modified from job to job.

I still don’t understand, once that baseline look has been created, how I can virtually max out the color correction saturation settings and see very little change to my image.

[Bryan Maslin]

Hi Leo-

I’m using the camera’s factory setup as a chroma baseline. I’m not using a chart or a scope currently, just seeing what the range of color reproduction is using a Panasonic BT-LH900 monitor set to the default chroma/phase/contrast/brightness settings. The color bars look great, but the images seem not to change much as I adjust the color correction settings. I do see the change when using the “high color” setting- I was hoping for more saturation.