[Rennie Klymyk]

I haven’t researched fisheye adaptors as I would if I were about to buy one myself but I have every confidence you will get a good quality optic for sure.

As far as the size, it looks not too bad. This fisheye and the regular .6 wide angle are the smallest in size of all the Century converters made for the HVX200. I have the .75 and it definitely adds some weight.

“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow

[Rennie Klymyk]

I should let sleeping dogs lie but I can’t help wondering why you only have 27 hrs. in 2 years on the camera. Has it been stored out in that high Florida humidity? This issue should have surfaced 23 months ago.

“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow

[Rennie Klymyk]

I haven’t used their fisheyes but I’ve used century converters and schneider lenses. I’ve used zeiss and nikon fisheyes also so I’ll offer my 2¢.

Century/schneider make excellent optics. 2 things you need from a fisheye converter is the barrel distortion and to maintain image clarity. Cheap converters will give you the effect but not the clarity edge to edge in the same quality level of your Leica lens on the camera. That’s ok for youtube but for music video you’ll need the sharpness you get from the better brands like Century/Schneider. They should maintain the sharpness and color separation edge to edge.

You’ll notice to buy a .3X fisheye from them is $3500.00 because they don’t compromise on quality. If you were sitting in the front row along the isle of a theater you will have sharpness and clarity before your eyes. (at least as much as the fixed lens and format can offer)

“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow

[Rennie Klymyk]

[Rennie Klymyk]

I agree with Noah’s advice and would add.

Think of hours meters as maintenance clocks. Most tape based equipment requires servicing of moving components and areas worn by friction. Due to the linear character of tape things like reel motors, capstans, load mechanisms and recording and playback heads can be expected to wear out at predicted intervals. Depending on the type of tape and materials used in the equipment these tolerances vary. D5 record heads last 1000 hrs as compared to D9 record heads that should last 5000 hours for example.

When it comes to P2 the only thing to wear is the card docking interface and it is tested for 150,000 io/outs! Things like the lens servo, interface terminals or electronic capacitors will likely be the 1st things to die. You should get 10 years from capacitors and probably as much on the lens servo (unless the camera is used by an amateur video shooter that takes a lot of holidays or has a lot of kids) LOL they are the ones who constantly zoom in and out.

As Noah pointed out it is just things like rough abuse or water/moisture damage that you need to worry about. Close inspection should reveal that type of problem!

“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow

[Rennie Klymyk]

Sort of but more like an optical conversion and without the frame sync issues.

“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow

[Rennie Klymyk]

Basically the dof is that of the 35mm format because the 35mm lenses used, throw the image on the devices imager or ground glass surface which is 35mm size. Between this 35mm ground glass surface and the HVX200 is a special macro lens that allows the camera to focus on this ground glass surface which is only as physically deep as the minute surface thickness where the image is cast. Almost no depth of field is needed from the camera as the image it is capturing is paper thin. The camera is not capturing the original scene it is capturing the projected image from the 35 mm adapter and that image benefits from the 35mm dof characteristics.

I have always been skeptical of anything you put between a scene and the recording device other than the necessary lens. In these cases your camera is actually filming a tiny image projected on a 35mm sized imager, which is a secondary image. However these dof adapters have proven themselves as to produce good enough HD imagery to make it into feature films for large screen projection.

Hope this helps.

“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow

[Rennie Klymyk]

Because the ac is converted to 12dc I doubt it would damage anything. Most of these camera power supplies have a very wide input voltage range. If you are capturing, John’s routine is a sound one. A power failure could cause problems with captured media during this process like the manual warns.

“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow

[Rennie Klymyk]

Hey Bob are you sure about the ME part. The older ones were MKH-60. The ME series all fit on a separate power module (K-6) that uses a AA battery. There is the ME- 62; 64; 65; 66; 67 mic attachments for the power module to go from omni – cardioid – long shotgun.

“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow

[Rennie Klymyk]

The reason you have different dof with different formats is all physics. If your lead actor is 6′ tall and you are shooting a 35mm camera, his 6′ image passes through the lens, all light rays intersect at the focal point and they fall on the chip in focus in what is called the image circle. So there he is, all 6′ of him standing on the 35mm size chip. If you put down the Red and pick up the HVX200a and frame the same shot you need to capture the same 6′ actor onto a 1/3″ chip or image circle and this extra shrinking down of the focused image is where the dof changes. 6″ guy onto a 35mm frame vs a 6″ guy onto a 1/3″ frame, you’ve really reduced that image circle and altered the real world spacialality (new word) where this 6′ actor actually exists.

Here is a diagram and more of an explanation.

https://forums.creativecow.net/readpost/99/856583

DOF.

“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow