JohnBarlow

A Kowa properly aligned should show peaking at 10x VF on newsprint 2m away even at F2/85mm

Sorry to hear of your issues. Try this Set your taking lens to 2m and point your rig at some grass (the lawn type). Now rotate your scope slowly from MFD 1.5m to far. If you do not succeed in finding focus at some point it means your scope is out of alignment and you should return it for a refund.

Failure to hit INF is a back focus issue. Sometimes the interaction of scope and lens messes with the back focus. Your lens may have a spacer ring inside it which you could remove to get the back focus sorted. All Zeiss Jena lenses from the 60s have a spacer.

Welcome Jonesy, Short answer - use a spherical lens and crop top and bottom

Cameras are tools. Like any craftsman/woman, you should have a range of tools, Some tools are better at doing things than others. Going out to a job with just one spanner doesn't always cut it. I keep an old Vidicon tube camera at hand just for special use. It has a dreamy unreal look which is hard to do in post. I pump its output (remember BNC?) into an old DV walkman deck. I also keep my old Super8 gear although film processing is getting harder to do.

Hey Luminaires, I am designing a large (6ft dia) collapsible, lightweight Chimera type chinese lantern. I am looking for a source of lightweight ripstop white diffuse nylon, must be light weight without colour cast. I want to purchase by the roll Any ideas?

http://www.cameraeccentric.com/info.html Fill ya boots ;)

Blank lines are good, white lines are even better :P

I can buy a nice zebra Zeiss Jena Tessar 2.8/50 for 10 quid off ebay. I can buy (indeed I own) a 1.4/24mm Nikon G for 1400 quid... do the math ;)

No disrespect to anyone, but I feel the notion that record labels are only now waking up to whats happening wrt to copyright infringement is lame. The owners are really smart street wise tough business types. Gordy, Branson, Blackwell, Geffen etc The truth is they have failed to address this issue in the past which started in the early seventies en masse with the introduction of the C90 audio cassette. Even the BBC were encouraging people to send in their mix tapes later in the 80s, The companies tried to get the Japanese to disable the record bias when a copyright signal was detected on the source - they failed Later with DVDs they tried to get the software burner people to prohibit copyrighted works from being duplicated.- they failed They even suggested a tax on blank recordable media - they failed. There have been test cases similar to the 'Bob Monkhouse video recordings' lawsuit which again have failed. My point is that if something cannot be policed then the universe is teaching you a valuable lesson. Woodstock and Isle of Wight festivals became free for a big reason - people power. Technology affects many people in this new world, why should record companies be exempt? Are they Gods?. Technology has devastated lives by making millions of typists, drafters, shops, businesses, checkout tills, banks ad infinitum... jobless. Sure a new business model is required or a pay per view of material containing copyright. But good luck if you can make that work. The notion that artists work is devalued is laughable. The record companies know all too well that any publicity is good publicity, smash your guitar on stage, get busted for substance abuse da da da. Regarding the value of old material which has long since passed its sell by date, you only have to pop into Charity shops to find CDs for a quid DVDs 2 quid Paperback novels 50p. I think this places the value of this stuff into real perspective.- this stuff is one step away from landfill. Anyway meet the new boss - same as the old boss da dummmmmm dat dat (oops how much do I owe ya Pete?)

The Technovision anamorphic is in vogue atm. Luc Besson uses them a lot and it features in the last Besson movie with Kevin Costner. A lucky forum member au8ust owns one. Read about it here '?do=embed' frameborder='0' data-embedContent>>

I also think that all mechanicals (Mechanical copyrights are those that the labels own 100%) should expire after five years. Since they have been in the public domain for five years, then they should be public domain forever so long as they are not used for profit. Jeez - what other line of work is it where you still get paid 30-40 years later for something you recorded when you were coked off yer head. Try telling that to a paramedic who saved someones life 30 years ago. Hmmm It doesn't seem right with world unemployment rising does it? The recent Pink Floyd digital remastered collection of all their studio albums served only one purpose - to refresh the mechanical copyright and at the same time get the public to pay for it on top- double whammy. Consider the Who's, 'Wont get fooled again' the message is in the music - how can they sleep cashing in on this?

I think this is crazy because sometimes I hear a catchy tune on a video and then go buy that tune, so they get free marketing and a sale out of it. Dont the suits realise this happens a lot, as I see many asking uncredited work what music was used in the feedback comments and this is invaluable for smaller artists needing airplay. The notion that vimeo or youtube can be used as some kinda jukebox is silly. For me as long as you give credit and play by fair use (use short passages, snippets not whole works and put the original artist in a good light) I think it should be allowed.

Good tip to check the wiring ;) My old Ianiro RH set need replacing they are fibreglass and tatty

Has anyone experience of the Chinese ARRI fresnel clones. Metal wise they look very similar and I can only think about the rivets maybe being a cause of concern, which may be FUD due to my ignorance. The price is great though http://www.ebay.co.uk/itm/2X-300W-2X-150W-Kit-Fresnel-Tungsten-Lights-Video-Spot-Light-spotlight-as-arri-/121345319719?pt=LH_DefaultDomain_0&hash=item1c40bea327

I have one of these units for sale. It is like mint condition , in its original box with instruction leaflet included. It took approximately 3 month to find an example in such good condition. Also I have a hard to find negative cemented 2 element achromat included which cures the infinity issue. The achromat will need to be mounted and is also in very good condition. PM me if interested, regarding price & availability.

Hey Blanche, Why not add storytelling/scriptwriting to the poll for new topics? I will support you regarding this. I good place to start is get yourself a copy of Final Draft, its great for dumping ideas when the creative juices kick in https://www.finaldraft.com/ Also a good storyboarder is useful, check out toonboom https://www.toonboom.com/free-storyboard-software This helps with blocking and staging and here is a good DVD home course in the subject which I highly recommend http://www.hollywoodcamerawork.us/mc_index.html Remember if it aint on the page it aint on the stage ;)

I feel you need to revisit this assertion.

Sony's price usually takes a dive after 6 months

Of course Vertigo and others... But there was a spate of people doing it in the 80s, which is what I really meant ;)

Telephoto compression plays a major part, longer FL means less perspective. 'Equivalent focal length' seems to forget this. A zoom and dolly shot popular in movies of the 80s, keeping the same framing, illustrates this perfectly

Fix a Manfrotto QR plate, the type with the metal loop used for tightening it, to the base of your cam Then hook a luggage bungie cord through the loop and stand on the other end. Its a type of elasticated inertia which will smooth out the motion ;) Plus its cheap........

If you are using monopod, the WA Cinelux could be made to work in this scenario. Size is about the same as Canon L 24-70, weight exactly 1Kg and 72mm diopters for close work. 1.4/85; 2/135 all workable wide open ;)

Welcome to the forum. Please conduct transactions etc via PM. Thanks

Widest is 42.5mm on cinema film gate, which of course can be done in 5D MLRAW crop mode ;)