Shawn Sutherland
Forum Replies Created
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It would appear nobody seems interested in this particular combination.
… until now.
Better?
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Speaking of Matte Boxes…..
Since I already own the NEX-FS100, a Tokina 11-16mm f/2.8 lens, and a Genus 77mm ND filter, I need a matte box that works for my particular lens/filter combo:
Tokina 11-16mm f/2.8 lens: https://vistek.ca/store/CameraLenses/…for-nikon.aspx
Genus 77mm ND filter: https://vistek.ca/store/CameraFilters…-nd-fader.aspx
Here’s what I need help with:
I need a matte box that works with this lens/filter combination, doesn’t vignette with the Tokina at 11mm on my NEX-FS100, but still allows access to the ND filter ring.
I might be asking for too much here, but I’ll ask anyway just in case somebody already got it working on their camera.
Anybody?
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Sure got awfully quiet around here all of a sudden.
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Since you’ve been a Steadicam user for years, you must know plenty about dynamic balance. You know how difficult it can be to re-balance a sled after changing cameras or lenses. Changing the position of the camera to compensate for an extruding lens can be just as difficult. That’s why I came up with a counter-balancing solution.
Re-balancing the rig is exponentially harder and longer to do than simply re-positioning a counter-weight. It’s literally the difference between minutes or seconds. I should know. It’s what I had to resort to until I came up with a better solution.
Once dynamic balance is attained with the lens at it’s widest, the camera doesn’t need to shift from it’s original position anymore. Just slide the counter-weight in the opposite direction of the zoom lens, check the pitch level of the sled, and dynamic balance remains perfectly intact.
Now I reallize most Steadicam operators avoid long-lens shots. But not always. Take another look at the video I posted, and I think you’ll agree. It just looks more interesting when the camera moves smoothly while the lens is zoomed in tight. It really does.
As you probably guessed, I don’t own a cine-zoom lens, and neither do many most people I’ve ever met. So at least my solution enables a whole range of DSLR zoom lenses to be used that would otherwise be seen as “too impractical” for Steadicam shots, or were flat out considered “impossible”. It really is the poor man’s solution to difficult Steadicam shots.
Seeing as how you own a Steadicam rig, you really should try this for yourself. You’ll find out what I mean right away.
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As a proud owner of the NEX-FS100UK Camera with the Hyperdeck Shuttle I can’t begin to tell you how pleased I was to hear that there’s a simple Workflow for removing the 2:3 Pull Down using Apple Compressor available with Final Cut Pro Studio:
https://blog.abelcine.com/2011/08/19/simple-workflow-for-removing-23-pull-down/
Couldn’t be happier.
There’s just one little problem.
I don’t own a Mac.
I own a PC with Adobe Premiere Pro CS5.5
OK now what?
Any ideas?
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Still patiently awaiting your NEX-FS100 / Tokina 11-16 2.8 lens footage.
Anything?
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Has anybody tried using an HDMI to HD-SDI converter?
https://www.aja.com/products/converters/converters-hd-ha5.php
HDMI from the camera to the converter.
SDI from the converter to the Hyperdeck Shuttle.
I don’t mean to go all Rube Goldberg on you here, but if you happen to own a converter, an FS100, and the shuttle, it sure doesn’t cost anything to try it out.
The worst that can happen is that it won’t work.
Big deal.
It already doesn’t.
But if it does work, well hey wouldn’t that be cool.
Just a crazy idea.
(OK, you can laugh now)