Hey,
We don't have the budget for a RED. (actually we do, but my camera team isn't convinced...whatever) What 35mm adapter do you guys have experience with that you suggest using?
-J
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10-24-2007, 08:27 PM
Hey,
We don't have the budget for a RED. (actually we do, but my camera team isn't convinced...whatever) What 35mm adapter do you guys have experience with that you suggest using?
-J
10-24-2007, 08:36 PM
The PS Technik mini 35 is the most popular. All these adapters are designed to work. It is just how much use can it take before it looses its strength and starts flexing. You need a really strong foundation to start from and the PS technik is made the best in my opinion.Originally Posted by Justin Anderson
10-24-2007, 08:38 PM
You could also go Pro-35 for 2/3" cameras. Works on Sony Cinealta & Panasonic Varicam cameras.
10-24-2007, 08:43 PM
A DP friend of mine just tested the Letus Extreme and raved about it. He also used the P&S one on a recent feature he DP'd and says the Letus competes well with it.
10-24-2007, 09:03 PM
I've used Letus, Brevis and Redrock. Redrock (if properly set-up - very important) is the best. It gives you full range with your lenses and is a very solid and professional product. Letus is homemade in the basement quality. I wouldn't think about it. Brevis looses very little light and is very run and gun friendly, but for me the Redrock has proven to be a bit better. But if I had the money I'd have both because they each are professional built and have strengths. However, if you can deal with a rail-mounted set-up, the images are truly outstanding with Redrock. I had been hesitant about Redrock because of the light loss but it's not nearly as bad as I expected. I'd say another half stop more than Brevis. But having the spinning ground glass gives you so much more flexibility with different lenses and F-stops. I'm sold. Work of caution - Many people incorrectly set-up the Redrock and then complain the images aren't sharp. It you set it up correctly and use quality lenses you will get sharp amazing images. That's my two cents.
For some reason some people don't understand that images that come form a poorly set-up adapter and a crappy lens shot wide-open aren't very sharp. Take the time and set-up the adapter. Use a simple chart or page of text to check edge sharpness and then put on a know solid lens. Then shoot with a sharp F-stop for both the Nikon lens and the videocameras' lens. You will get sharp footage. And with RedRock you'll get great depth of field and absolutely no grain. Very nice.
10-24-2007, 09:35 PM
" my camera team isn't convinced."
i find it hard that they would prefer a image off ground glass ??
... sorry i just don't see that a camera team having a say in it - the DP yes ... what does the producer & director say ??
10-24-2007, 09:47 PM
The new Letus is supposed to be very pro now.
As for what adapter is best, let me start off by saying that the first thing you need to think about is this:
How good is your cameras stock lens?
Seriously.
I've been studying the chromatic aberrations of my DVX lens for quite sometime, and some focal lengths are better than others.
The point I'm making is this, one adapter might require Camera A to use its best focal length (as far as lateral chromatic aberration is concerned), yet force another camera to use its worst focal length. Now add on top of that the 35mm lenses own set of issues.
You simply cannot make blanket statements about these adapters, and much of that has to do with the various stock lenses out there.
10-24-2007, 11:41 PM
My thoughts exactly.
I meant the DP. I said "camera team" cause for some reason everyone on the camera team agrees with him.
They thought it would be too risky to shoot RED, but with all the RED projects coming up that fear is unwarranted.
They also didn't want to put RED into the budget, so now they're spending the same amount on more lighting to compensate for the 35mm adapter. Whatever. Doesn't make sense to me but I don't have control over that. Oh well.
10-25-2007, 06:23 AM
Have you already set up a demo with images and videos posted here, from the RED Camera?
Have you told the the big budget Hollywood productions are shooting with RED préproduction models too?
And if you're the director, can't you persist?
I don't know about your situation, and if you haven't got any power of the solution, then it's a pitty, and I don't know WHEN you want to shoot, because if you reserve a RED camera now, you'll only get it... somewhere mid next year.
But it would be a pitty, so I hope things turn out well for you and your production (whatever you shoot, if you have a GOOD DOP and a GOOD camera team, your images will be fine either way).
Best regards,
10-25-2007, 11:16 AM
I've found that the P+S is the most battle worthy. An important consideration when choosing an adapter is the position that the focal distance will be in to focus on the ground glass. If the lense must be in MACRO (I'm speaking mostly about the HVX200 here) than the back focus is likely to slip often and undetected. On a P+S the focus is about 4 1/2 feet from the lense because of the additional optics of the adapter. That's important because once you find the focus you can trust the number on your heads-up display to tell you that the glass is still in focus. Likewise the adapter has a hood that protects the focus ring from accidental adjustment. One thing to be careful with on those adapters is that you thread it in properly, misthreads have lead to some busted lenses. Also I have found that the springloaded body mount sometimes tightens in a position where it is slightly dutch, you won't notice until you see the dailies and your bubble level will lie to you.
P+S is mostly available with PL mount. If you are going Canon or Nikon, then I'd say consider the RedRock first and then Letus.
IBloom
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