Any chance lens mapping is turned off?

Is the amount the lens is off consistent?  You could always slide the motor up or down a bit on it's mount while engaged to the lens to compensate.


Andy Hoehn
First Assistant
Atlanta, GA USA

Hey Saul,

Hello: 
Preston HU3 with MDR-2, G4 converted.
After mapping a lens the premarked ring does not match the marks on the lens anymore. Did a Soft Reset and  the Focus knob Calibration and nothing improved. It’s always the same amount of offset and to the same direction, less in the D ring more towards the A ring. At 2 meters it sets the focus at around 2,10 more or less. 
Any ideas?
Best regards
Saul Oliveira
AC
Spain

Does anyone remember how to get the Arri 435 in service mode on the menu?
--
Doug O'Kane
1st Assistant Camera
Denver CO

The Digital Cinema Society would like to share with the CML-AC list our two part streaming coverage of a Digital Cinema Society event held August 8th at Sim Los Angeles on the subject of Best Practices For On-Set Wireless.  In the first part, Hi-speed Cinematographer Enrique Del Rio shares his extensive research and prerecorded interviews with subject experts including:

-Nicol Verheem, Founder of Teradek and the CEO of parent company Creative Solutions

-Manolo Rojas, SOC, a SteadiCam Operator who co-founded ChilipepperLabs and DREAM

-Greg "Noodles" Johnson,  President of RF Film, a company that provides wireless expertise to major motion pictures and arial photography projects.

-Greg Smokler, Founder of Paralinx and the VP of Products for Creative Solutions, which includes the Teradek, Paralinx, SmallHD, and Wooden Camera brands.

The second part our coverage features a panel discussion moderated by Cinematographer and Founder of DCS, James Mathers.  Panelists include:

-Greg Smokler, Founder of Paralinx and the VP of Products for Creative Solutions

-Jaymie Bickford, Vice President, Camera US at Sim

-Michael Chambliss, Production Technology Specialist and Business Rep from IATSE Local 600 

-Hans Lau, a Co-Founder of Lumen Radio

-Enrique Del Rio, a Hi-Speed Cinematographer and presenter on Best Practices for On-Set Monitoring

View the complete coverage on Vimeo here:  https://vimeopro.com/digitalcinemasociety/dcs-event-coverage-best-practices-for-on-set-wireless

If you appreciate this kind of content, please consider joining DCS.  More details can be found at:  www.DigitalCinemaSociety.org

Thanks,
James Mathers
Cinematographer and Founder of DCS
Studio City, CA

I haven’t used a cinetape in quite some time as I’ve happily swithed to CineRT. But I always kept the setting firmly on -1. It resulted in what felt to me like a quicker refresh rate and a faster display, which I preferred to a slower, stable one.

Thanks,
Benjamin Tubb
IATSE 669 1st AC - Vancouver, BC
604-908-5219
benjamin.tubb@...

Whilst i havent tested this myself i understood it as:
1=changes when actor moves more than 1 inch. Once they are past the inch they need to move more than one inch backwards for the display to go back. But if they move 0.9 inches the display wont change
-1=shows chenge immediately which means that if they are wavering at 1ft he display will quickly jump between 1' and 1'1 making the display difficult to read from fast change.

I should test this.

Hello:
how do you use the -2/+2 setting on the Cinetape?, what does it exactly do?

Best Regards
Saul Oliveira
First AC 
Spain

They say the new F-5A is closer to the 58 than de 55 is, in terms os peaking, aperture, focus capabilities. 
Have you tested it?

It really depends on the camera, some people prefer to have it heavily cranked up but I find this gives a false sense of security for super critical and shallow work. 
Arri cameras I keep mine at -4 to -6 just to the point where a spectral will vibrate the eyes. 
Other cameras have other levels. 

On Tue, Jun 25, 2019 at 02:58 PM, Steven Bailey wrote:

Go “Old School”, run a tape measure & get marks?

 

Steven i’m not taking about methodology, i’m Talking about an specific monitor and it’s adjusments. But since you asked, yes, I still run a tape, a laser, mark the actors, the dolly and get space references across the set, but I also use a cinetape in some cases and a monitor to quick check focus in some positions, mostly on wide open long telephotos when not having DoF for both eyes can ruin a take if you try to do it only by judging measures by eye or when even the cinetape isn’t useful; or to quick check a finished shot if in doubt of the focus. I use the monitor as another tool like thousands of asistants in a world where the sensors are becoming larger than monitor screens itself, and even Preston Light Ranger is a tool to exclusively use looking at a monitor. 

Best regards. 
Saul Oliveira 
AC
Spain

Go “Old School”, run a tape measure & get marks?

Hi guys. 
Forced to work with this monitor now and looking for ways to see focus more accurately, boost the aperture or something.
Any having the same problem with it?.

Best regards
Saul Oliveira
First AC
Spain 

I use aluminum whenever I can because they're lightweight (and cheap). But I've experienced aluminum rods being a little more flexible than steel, so if for instance I have to mount 3x Preston motors under my lens for a zoom that doesn't have a lens support… I would prefer steel. (Ideally though, I'd rather use aluminum rods, use a lens support, and separately mount my motors above the lens so gravity works in my favor.)

@Phil's idea of Titanium is great, I hadn't heard of those and I'm excited to try them out.

Trevor T
trevorkt.film@...
Local 600
LA, CA