1. cml-ac@cml.news
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Cooke /i Lens Data Not Matching WCU4 Pre-Printed Rings

Trevor T
 

Hi all - I've run into an issue with Alexa Mini's where Cooke /i lenses (e.g. Anamorphic/i, Panchro/i Classic) will communicate their lens data through the Alexa Mini to the WCU4, but I won't be able to match that lens data to the pre-printed distance rings that come with WCU4 kits…

To be more specific: I'll mount a lens and calibrate the WCU4. I'll have the WCU4 unit set up for use with a "blank ring". The digital readout on the WCU4 will match the actual lens settings (focus distance & iris). Then I'll set the WCU4 to use the 20" pre-printed ring, and the digital readout on the WCU4 will show '20"', proof that it saved that setting, and the digital readout will still match the actual physical lens settings… But the marks on the 20" pre-printed ring won't line up with the digital readout on the WCU4, nor the actual physical lens settings.

I've also experienced this issue recently with a Signature prime on a regular Mini (not LF) which had the LPL mount attached rather than the PL mount.

Can anybody tell me if I'm doing something wrong? Or if this is a limitation of the equipment and a miscommunication between the Arri cameras and Cooke's /i technology, or LDS-1 vs LDS-2? Thanks very much!

Trevor Taylor
Focus Puller
Los Angeles
Re: SCUBACAM

Kent Satram
 

Thanks for all the quick feedback and help!! Problem got solved, it was two sets of faulty cables on the housing.
SCUBACAM

Art Adams
 

It seems like your setup is drawing a lot of current and the addition of the hardwire is compounding that.

 

Are you able to power the motors off a separate battery? The Mini LF doesn’t have quite the current capacity that our larger cameras do as it is smaller but also doing the same things our larger cameras do (dual gain all the time, uses high-current FPGAs for maximum software update flexibility, etc.).

 

-Art

 

_______________________________________________________​
Art 
Adams
Cinema Lens Specialist
​
ARRI Inc.
3700 Vanowen Street
Burbank, CA 91505
www.arri.com 

 
aadams@...

Get all the latest information from www.arri.com, Facebook, Twitter, Instagram and YouTube.


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From: cml-ac@... <cml-ac@...>
Date: Saturday, January 9, 2021 at 12:06 PM
To: cml-ac@... <cml-ac@...>
Subject: [cml-ac] SCUBACAM

HI EVERYONE, Happy Holidays! 

Has anyone had trouble hardwiring your wcu4 in a SCUBACAM bag?
Everything works perfectly until I connect the hardwire loom, no motor control, no roll.

Tried a UMC4, as well as AMC1. on A ALEXA MINI LF. 

With No accessories, only the umc4 or amc1 and fresh batteries I've gotten the "overcurrent protection" message on one attempt. Picture attached.

 

This message is confidential. It may also be privileged or otherwise protected by work product immunity or other legal rules. If you have received it by mistake, please let us know by e-mail reply and delete it from your system; you may not copy this message or disclose its contents to anyone. Please send us by fax any message containing deadlines as incoming e-mails are not screened for response deadlines. The integrity and security of this message cannot be guaranteed on the Internet.
Re: SCUBACAM

Jonathan Bowerbank
 

Could be a poorly wired LCS cable, or faulty LCS port on your hand unit.

Have you tried switching out either one?


--
Jonathan Bowerbank Local 600 Camera Assistant San Francisco, CA m: 415-320-9391 e: jonathan.bowerbank@...
Re: SCUBACAM

Camillo Foramitti
 

Try removing the battery from the WCU-4

Camillo Foramitti
1st AC
Vienna, Austria

Am 09.01.2021 um 21:03 schrieb Kent Satram <satramkent@...>:

HI EVERYONE, Happy Holidays! 

Has anyone had trouble hardwiring your wcu4 in a SCUBACAM bag?
Everything works perfectly until I connect the hardwire loom, no motor control, no roll.

Tried a UMC4, as well as AMC1. on A ALEXA MINI LF. 

With No accessories, only the umc4 or amc1 and fresh batteries I've gotten the "overcurrent protection" message on one attempt. Picture attached. <IMG_3825.jpg>
Re: SCUBACAM

Mark H
 

Hi Kent,


I own a Scubacam bag and have used it hardwired with a WCU-4 many times(typically with Alexa mini) and have never had that issue. 


Have you used the bag and loom previously with the WCU-4 without the issue?


What connector are you using from camera? EXT or RS? 


Are you seeing the hardwired icon on the Hand unit display? 


Try removing the battery from the WCU-4. In hardwired operation, the WCU-4 is powered via cable. The LCS connector on the hand unit will supply power out from the battery if inserted. i.e sending your 7.2v 1600mAh to the camera. I’m no electrical expert but this could be the cause of the over current. 


Please let me know if there’s any success.


Mark Hannon

Focus Puller

Ireland 




On 9 Jan 2021, at 20:03, Kent Satram <satramkent@...> wrote:

HI EVERYONE, Happy Holidays! 

Has anyone had trouble hardwiring your wcu4 in a SCUBACAM bag?
Everything works perfectly until I connect the hardwire loom, no motor control, no roll.

Tried a UMC4, as well as AMC1. on A ALEXA MINI LF. 

With No accessories, only the umc4 or amc1 and fresh batteries I've gotten the "overcurrent protection" message on one attempt. Picture attached.
<IMG_3825.jpg>
SCUBACAM

Kent Satram
 

HI EVERYONE, Happy Holidays! 

Has anyone had trouble hardwiring your wcu4 in a SCUBACAM bag?
Everything works perfectly until I connect the hardwire loom, no motor control, no roll.

Tried a UMC4, as well as AMC1. on A ALEXA MINI LF. 

With No accessories, only the umc4 or amc1 and fresh batteries I've gotten the "overcurrent protection" message on one attempt. Picture attached.
Re: Internal variable ND filter

Oliver Janesh Christiansen
 

Hi Souki, 

As far as I know the technology uses voltage to vary the light transmission through the glass. I'm no expert in the tech but you could search for the 'Tessive' technology (later bought by RED to be used in their Motion Mount), which I believe is similar. Panavision has also announced a voltage controlled liquid crystal filter a while ago but not sure if it will be available.

As I am the inventor of the Cinefade VariND, let me point out that we use a very simple technique of counter-rotating two polarisers to vary light transmission in our variable ND filter, which can be used on any camera.

Hope this helps a little for your research.

All the best, 

Oliver Janesh Christiansen
Inventor of Cinefade
oliver@...
Internal variable ND filter

Souki Belghiti
 

Hi everybody,
Hope the beginning of the year finds you well, despite the circumstances.
Some Sony cameras (F3, FS5 F65 to name a few) have internal ND filters whose strenght can be adjusted through the menus and I wonder how it actually works technically (or optically)
Apologies if the subject has already been discussed, I did look through the archive,
Best regards
Soukayna Belghiti, AC/Teacher- Morocco based
Re: V mount with D tap plate for Alexa Classic

Philip Letourneau
 

Thanks for the suggestions. After a bit of a search I found the Blueshape MVAL, made in Italy and think it will do exactly what I need. I've reached out to Blueshape and their Canadian distributor to confirm compatibility with the Alexa Classic from 2012.

Cheers
Philip Letourneau
Cinematographer/Instructor
Calgary, Alberta
Canada
Re: V mount with D tap plate for Alexa Classic

Emmanuel SUYS
 

Hi,

Check with IDX, they make various v-mount plates.

Cheers

Manny, Munich

 

On Nov 12, 2020, at 3:51 AM, Philip Letourneau <philipletourneau@...> wrote:


Does anyone know of a replacement V mount battery plate with a D tap on it for the Alexa Classic?

Ideally I'd like to remove the original Arri V mount battery plate and install the new plate directly onto the camera, versus popping another plate onto the existing battery plate.

Thanks.
Philip Letourneau

Emmanuel SUYS
1st Asst Cinematography - 1st Asst Kinematografie - 1er Asst Photographie Cinématographique
*16-35-HD-HiSpeed-UW
*HiSpeed Operator
*Digital On Set Supervision
*European based
*Mobil +491734537858 *emmanuel at suys.de
*Cinematography Mailing List Moderator - CML

 

 

_._,_._,_
Re: V mount with D tap plate for Alexa Classic

Mitch Gross
 

I believe Arri added a regulator circuit of some kind inside its battery plate. I remember a small circuit board. 

Mitch Gross
New York

On Nov 12, 2020, at 3:51 AM, Philip Letourneau <philipletourneau@...> wrote:

Hello

Does anyone know of a replacement V mount battery plate with a D tap on it for the Alexa Classic?

Ideally I'd like to remove the original Arri V mount battery plate and install the new plate directly onto the camera, versus popping another plate onto the existing battery plate.

Thanks.
Philip Letourneau
Cinematographer/Instructor
Calgary, Alberta
Canada

V mount with D tap plate for Alexa Classic

Philip Letourneau
 

Hello

Does anyone know of a replacement V mount battery plate with a D tap on it for the Alexa Classic?

Ideally I'd like to remove the original Arri V mount battery plate and install the new plate directly onto the camera, versus popping another plate onto the existing battery plate.

Thanks.
Philip Letourneau
Cinematographer/Instructor
Calgary, Alberta
Canada
Skorpio FF anamorphic and Arri Mini LF #lens

Art Adams
 

Is Netflix allowing 2.35:1? And is it 2.35:1 or 2.39:1, which is the current standard?

 

My understanding is that Netflix wants 8,294,400 photo sites for their UHD mandate. You can do that spherically in 16:9 (3840*2160=8,294,400), or 2:1 (2880*2880=8,294,400) which is the anamorphic option. I’ve been told that anything beyond that requires special permission.

 

I know we have 2:1 spherical frame lines in the cameras but I don’t know if we have anamorphic 2:1. We should. If not, you can build your own:

 

https://www.arri.com/en/learn-help/learn-help-camera-system/tools/frame-line-lens-illumination-tool

 

…and load them into the camera. Just pop a USB stick into the camera, and under the Media menu choose “Prepare USB medium.” When you look at the file structure you’ll see the camera created a bunch of folders. Drag your custom frame lines into the Frame Lines folder and the camera will be able to load them.

 

We don’t currently offer a 2:1 recording option. Windowing the sensor is non-trivial, and we’re focused on software updates and new features for the current camera (Mini LF) and moving full speed ahead on the next (S35) camera. You’ll have to shoot open gate and trim later. That’s easy as the frame line tool above will allow you to output a frame leader for editorial that shows your exact framing.

 

 

If you have any questions just shoot me an email.

 

-Art

 

_______________________________________________________​
Art 
Adams
Cinema Lens Specialist
​
ARRI Inc.
3700 Vanowen Street
Burbank, CA 91505
www.arri.com 

 
aadams@...

Get all the latest information from www.arri.com, Facebook, Twitter, Instagram and YouTube.


​

​

This message is confidential. It may also be privileged or otherwise protected by work product immunity or other legal rules. If you have received it by mistake, please let us know by e-mail reply and delete it from your system; you may not copy this message or disclose its contents to anyone. Please send us by fax any message containing deadlines as incoming e-mails are not screened for response deadlines. The integrity and security of this message cannot be guaranteed on the Internet.


From: <cml-ac@...> on behalf of "luigi tadiotto via cml.news" <Luigi.tadiotto=icloud.com@...>
Reply-To: "cml-ac@..." <cml-ac@...>
Date: Tuesday, October 6, 2020 at 8:42 AM
To: "cml-ac@..." <cml-ac@...>
Subject: [cml-ac] Skorpio FF anamorphic and Arri Mini LF #lens

 

Hi everybody, Any idea of what is the lens squeeze factor for these lenses? And for a 4K Netflix mandate what are the best rec setting and frame line guide resolution? the Final aspect ratio will be 1:2:35

 

This message is confidential. It may also be privileged or otherwise protected by work product immunity or other legal rules. If you have received it by mistake, please let us know by e-mail reply and delete it from your system; you may not copy this message or disclose its contents to anyone. Please send us by fax any message containing deadlines as incoming e-mails are not screened for response deadlines. The integrity and security of this message cannot be guaranteed on the Internet.
Re: Skorpio FF anamorphic and Arri Mini LF #lens

AJ Young
 

I've never heard of these lenses and I'm very curious now! Do you have any information on their history?
Re: ARRI Error Codes

Ashley Hiatt
 

https://www.manualslib.com/manual/962533/Arri-Alexa.html?page=172

This is what I was able to find on a quick search, hope it helps.


All the Best,

Ashley Hiatt
TCS 
Pull Tech



On Sat, Aug 15, 2020 at 2:03 PM SCOTT DAHARB via cml.news <daharb1=mac.com@...> wrote:
Does anyone know where a list of ARRI Error codes is available?
Thanks,
Scott

Re: Skorpio FF anamorphic and Arri Mini LF #lens

matt.choules@...
 

Hi Luigi,

If you mean the ServiceVision Scorpionlens anamorphics, both the s35 and FF lenses are 2x squeeze: https://www.servicevision.es/en

I've yet to shoot Mini LF with anamorphics, but as there isn't a specific 4:3 mode in the LF yet I imagine you'll be want to shoot LF Open Gate 4.5K (in either ArriRAW or ProRes), changing the lens squeeze ratio to 2x and then adding a 2.35:1 frameline to do a horizontal crop to your desired aspect ratio.

The downside will be you'll be shooting a fair amount more data than you need due to the lack of mode specific to your need currently, and as an upshot your framerates will be limited to 0.75-40fps in both ArriRAW and ProRes.

You can try it yourself, as well as generating a frameline and digital frame leader here: https://tools.arri.com/flt/index.html

Hope that help,
Matt Choules GBCT
1st AC / Focus Puller
London, UK.
Skorpio FF anamorphic and Arri Mini LF #lens

luigi tadiotto
 

Hi everybody, Any idea of what is the lens squeeze factor for these lenses? And for a 4K Netflix mandate what are the best rec setting and frame line guide resolution? the Final aspect ratio will be 1:2:35
Re: Follow up on teaching ACing

Mitch Gross
 

Sounds like a great class. 

Mitch Gross
New York

On Sep 23, 2020, at 9:41 PM, Souki Belghiti <soukiac@...> wrote:


Hi again,
Hope I am doing this right and not breaking any rules.
Just wanted to extend a huge thank you to everybody who contributed to this thread, and to Geoff for the online talk. There are things that I do (like checking the weather) but wouldn't have thought of passing on without you reminding me.
The workshop went well. I try for it to be as experiential as possible. We started with camera tests, and reminders on set-etiquette and basic principles. We then went on to shoot increasingly difficult over the days.

I played the impatient director behind her monitor to get them to communicate clearly on their needs vs throwing each other under the bus with endless chit-chat on who didn't do what.
I also made some shots be really difficult for them to experience the stress and frustration a focus puller can go through, and created unnecessary "company moves" inside the school, for them to get better at it.

Day by day, I saw them grow (and that was a very happy feeling)
I let them not take the slate seriously enough, but the last day, I made them watch what we shot and put them in the editor's shoes with hard to read slates, reminding the snide comments in the editing room could really affect their next hire. I think they'll remember :)

As it's impossible to predict what the future will bring and the type of shooting they'll be involved in (I live and work in Morocco. The market was driven by executive production of foreign films unlikely to be back at their previous level soon, and local productions are way cheaper and less organized, so I didn't insist too much on paper work (not prevalent in the local set culture) but much more on attitude, and basic life/set principles- useful no matter what you do (always do your best, do it out of love but ask for a decent salary and don't break the market for everybody else, think about people down the line, time is our most precious resource, anticipate, ask for what you need concisely and clearly-no one is interested in hearing your problems.)

The 5 days went by super fast and we all had fun.

And I'm very grateful for CML!
Re: Follow up on teaching ACing

Geoff Boyle
 

It’s clear that education is more and more important in a time of falling standards.

This was very clear in last nights web discussion.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

 

 

From: cml-ac@... <cml-ac@...> On Behalf Of Mark Sasahara
Sent: Thursday, 24 September 2020 04:40
To: cml-ac@...
Subject: Re: [cml-ac] Follow up on teaching ACing

 

Hey Souki,

 

I'm glad to hear that your course went so well and that CML could help.

 

Hats off to Geoff, for making this resource available to us all and to all the amazing sponsors and filmmakers who contribute. This is great because we all benefit from things like educating the younglings and passing on information and ideas. 

 

-Mark Sasahara, DP, NYC
  marksasahara@...
   718-440-1013
    http://msasahara.com

 

 

On Wed, Sep 23, 2020 at 9:41 PM Souki Belghiti <soukiac@...> wrote:

Hi again,

Hope I am doing this right and not breaking any rules.

Just wanted to extend a huge thank you to everybody who contributed to this thread, and to Geoff for the online talk. There are things that I do (like checking the weather) but wouldn't have thought of passing on without you reminding me.

The workshop went well. I try for it to be as experiential as possible. We started with camera tests, and reminders on set-etiquette and basic principles. We then went on to shoot increasingly difficult over the days.

 

I played the impatient director behind her monitor to get them to communicate clearly on their needs vs throwing each other under the bus with endless chit-chat on who didn't do what.

I also made some shots be really difficult for them to experience the stress and frustration a focus puller can go through, and created unnecessary "company moves" inside the school, for them to get better at it.

 

Day by day, I saw them grow (and that was a very happy feeling)

I let them not take the slate seriously enough, but the last day, I made them watch what we shot and put them in the editor's shoes with hard to read slates, reminding the snide comments in the editing room could really affect their next hire. I think they'll remember :)

 

As it's impossible to predict what the future will bring and the type of shooting they'll be involved in (I live and work in Morocco. The market was driven by executive production of foreign films unlikely to be back at their previous level soon, and local productions are way cheaper and less organized, so I didn't insist too much on paper work (not prevalent in the local set culture) but much more on attitude, and basic life/set principles- useful no matter what you do (always do your best, do it out of love but ask for a decent salary and don't break the market for everybody else, think about people down the line, time is our most precious resource, anticipate, ask for what you need concisely and clearly-no one is interested in hearing your problems.)

 

The 5 days went by super fast and we all had fun.

And I'm very grateful for CML!
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