http://exposureroom.com/members/DARANGULAFILM/Mon, 28 May 2012 16:51:14 GMTExposureRoom RSS Feed Generator v1.0enMon, 06 Dec 2010 23:26:50 GMThttp://exposureroom.com/f50edb3a939441cca782be388bd9882d/http://exposureroom.com/f50edb3a939441cca782be388bd9882d/SI2KSilicon Imaging SI2K Digital CinemaSun, 14 Feb 2010 23:30:11 GMThttp://exposureroom.com/a8c03f41fc3343808d1c3f049e924820/http://exposureroom.com/a8c03f41fc3343808d1c3f049e924820/
Here is a quick sample of some day two footage. You will observe the reverse will need some creative grading from when we lost the daylight window fill and subbed with the blue-gelled CFL.

Jean-Luc also veered off his eyeline from Rory to his brother which I did not observe at the time. He may not have done so in the other takes however focus may not be so good throughout them either as I was trying to frame and pull focus on my own for them before we shoved his brother into the small space to reach for the focus lever.

Audio is good, the product of having somebody competent on the day for sound.

I have unpassworded the clip now that Tropfest is done and gone as Rory ( Dad ) wanted a look and I did not have the links and password with me when we discussed it.

For those unconnected who look at this clip, the story is of a teenager, quietly grieving the recent death of his father with whom there was a less than happy relationship.

Reluctant to go to the funeral, he refuses to be drawn from the computer video game he is playing when his mother and grandfather call for him to depart with them.

That instant he is transported into the environment of a video game with a whole different set of rules, where he meets his father who has come back to put things right.

It is a sweet-sad little story which deserved a lot more time and resources than we were able to committ to it.


For the techies, vision was shot on the SI2K with minimal lighting resources, two CFLs in old Photoflood parabolic reflectors and indirect daylight spill from the verander windows.

Due to the confined workspace when shooting the reverse, even when cheating it, I was working across the camera crosshanded. We managed to shoehorn the teen actor's brother into a tight space to work the follow-focus after the first few bad takes when focus or framing was lost.

Audio for this clip went into the camera via Sound Devices Mix-Pre from Rode NTG-1 or NTG-3 mic.

Post for this rush clip consisted of copy from the Dataport drive, apply default look, quick black and white levels trim plus 25 points of sharpen to tidy up some of my bad focus. There is no in-camera enhancement of the image.

With SI2K footage, I normally do this in post from the raw image.

Exported direct from timeline to .wmv file to post here.]]>Silicon Imaging SI2K Digital CinemaAdobe Premiere Pro 1Chroszeil Not KnownCineForm Prospect 4K v3Cinema Products Ultra T*Daylight Natural Unassistedmiller LPVPHOTAX PHOTOFLOODS WITH CFL LAMPSRODE Microphones NTG3SI2K FULL SYSTEMSI2K Recorder Unit inegral railsSound Devices MIX PREFri, 31 Dec 2010 11:23:00 GMThttp://exposureroom.com/a0130da30d1448e79e077cb1c092e8d9/http://exposureroom.com/a0130da30d1448e79e077cb1c092e8d9/Silicon Imaging SI2K Digital CinemaSat, 24 Oct 2009 14:55:56 GMThttp://exposureroom.com/67daf742e2fc4444be7c2dd3db987675/http://exposureroom.com/67daf742e2fc4444be7c2dd3db987675/
This is a rough grade and brighten only and not from the ideal clips as these did not copy to the courier drive for some reason. The asassination towards the end had to be speeded up.]]>Cinema Products Ultra TPERTHSI2KSilicon Imaging SI2K Digital CinemaAdobe Premiere Pro 2ANGENIEUX 17.5mm x 70mm "Compact"Chroszeil Not KnownCineForm Prospect 4K v3Cinema Products Ultra T 16mmCinema Products Ultra T 25mmCinema Products Ultra T*Daylight Natural UnassistedSachtler ENGSI2K FULL SYSTEMSI2K Recorder Unit inegral railsTiffen ND.6Vinten Vision 10Tue, 22 Sep 2009 13:36:27 GMThttp://exposureroom.com/b4037aa7c27a4cb09677f04cd47a8c55/http://exposureroom.com/b4037aa7c27a4cb09677f04cd47a8c55/
To view you will have to do the cross-eyed method and set this off by shoving a finger about five inches or 150mm in front of your eyes and centering on that and fpcusing on the centre of the three frames you will see in the background. I have not worked out how to render the anaglyph yet.]]>3dPERTHSI2KSilicon Imaging SI2K Digital CinemaSTEREOSCOPYAdobe Premiere Pro 2CineForm Prospect 4K v3Cinema Products Ultra T 9mmDaylight Natural UnassistedSachtler ENGSI2K 3D RIGVinten Vision 10Tue, 04 Aug 2009 00:10:44 GMThttp://exposureroom.com/2c55a9b85e754e25b157865029b8d8d3/http://exposureroom.com/2c55a9b85e754e25b157865029b8d8d3/
So here's an experiment and it is not all good at all. To viewe it in 3D, you have to sit back from your monitor, stick your finger up in front of your eyes, focus initially on it and send yourself crosseyed so that you see three frames instead of two, then focus on something in center of the centre frame.


This was shot with two Sony Z1's on a common bar, my aviation rig, as close together as they can be, both cameras harmonised to a point about 6 metres distant. From the outset, it seems that harmonising the cameras onto a convergent point is not the go. If you view the footage carefully, you will see at one point the cat's tail appears to become detached from its body.

One apparent limitation appears to be that wide lenses don't work so well. My guess is that the "normal" lens, which in the case of 1/3" Z1s would be about zoom at 14mm, should be predominently used so as to more naturally represent the human eye view and the perspectives which becomes a little limiting creatively. My second guess is that a more pleasing presentation would be to shoot a mix of 3D and 2D footage.

As the camera swings right into the grass, you will have to focus on the right edge of the white box otherwise your eyes will come unglued from convergence. ]]>3dPERTHSONY HVR-Z1PSTEREOSCOPYAdobe Premiere Pro 2Daylight Natural Unassistedmiller LPVSony HVR-Z1PSun, 26 Jul 2009 08:47:59 GMThttp://exposureroom.com/9576072fa72f4bfeb8f76b4c3854e676/http://exposureroom.com/9576072fa72f4bfeb8f76b4c3854e676/DIRECT RELAYEDGE BRIGHTNESS FALLOFFLETUSLETUS EXTREMELOW LIGHTNOCT NIKKOR 58mmSI2KSilicon Imaging SI2K Digital CinemaAdobe Premiere Pro 2Daylight Natural UnassistedLetus 35 ExtremeLetus Rails V2miller LPVNikon 200mm f2Nikon Noct Nikkor 58mm f1.2 7bl irisSI2K FULL SYSTEMSun, 17 May 2009 11:09:41 GMThttp://exposureroom.com/a14c4b39a91641b9bc19a80d49b72476/http://exposureroom.com/a14c4b39a91641b9bc19a80d49b72476/
Here is the clip. The challenge is going to be in masking the muzzle flash behind the seat belt which is in soft focus in foreground. A lesser issue is the sliding bolt on the side of the prop gun which is not moving.]]>AviationBOB GRIMSTEADCinema Products Ultra TMAULESI2KYSENAdobe Premiere Pro 2Aircraft comms system HeadsetsCineForm Prospect 4K v3Cinema Products Ultra T 12.5mmCinema Products Ultra T 16mmCinema Products Ultra T 25mmCinema Products Ultra T*Daylight plus soft microfloods. Nelson Pool Light modifiedRedhead. 800wRedheads and soft microfloods Generic RedheadsSatchler ENGSI2K FULL SYSTEMSound Devices MIX PRESun, 17 May 2009 01:13:50 GMThttp://exposureroom.com/b32d389c3fc7455f8df597bc917c0c0b/http://exposureroom.com/b32d389c3fc7455f8df597bc917c0c0b/
Origination - SI2K digital cinema camera.

Lenslist - Cinema Products Ultra T* 25mm T1.25. Kinoptik Tegea 5.7mm f1.8. Nikon 58mm f1.2 (not in this edit).

Many thanks to Bob Grimstead for flying us, for access to the Maule aircraft for the on-ground in-air emulations, and the Sport Aircraft Builders Club for venue access to Serpentine Airfield (YSEN).]]>AviationBOB GRIMSTEADCinema Products Ultra TFOX FEATHERWEIGHT TWENTYEIGHTKINOPTIK 5.7MM f1.8MAULENOCT NIKKOR 58mmSilicon Imaging SI2K Digital CinemaSport Aircraft Builder's ClubAdobe Premiere pro cs3Adobe Premiere Pro CS3Black Magic DecklinkCineForm Prospect 4K v3Cinema Products Ultra T 25mmDaylight Natural Unassisted plus reflectorKINOPTIK-TEGEA 5.7mm f1.8 C-mountNikon Noct Nikkor 58mm f1.2 7bl irisRØDE Microphones NTG-1Satchler ENGSI2K FULL SYSTEMSI2K Recorder Unit inegral railsZeiss ARRI Distagon 16mmTue, 28 Apr 2009 02:41:46 GMThttp://exposureroom.com/741fae0ddf2c4b6cbb115689d0d42e0e/http://exposureroom.com/741fae0ddf2c4b6cbb115689d0d42e0e/
The SI2K "Mini" head was detached from the camera and placed on the coaming above the instrument panel in the aircraft where there is very limited workspace.

Many thanks to Bob Grimstead for his Maule aircraft, his flight skills, hangar access and the airtime. He returns next week to the UK for the northern airshow season so the time made available during the period of departure preparation is especially appreciated.

Many thanks also to DP Gavan O'Sullivan, who is less inclined to give up than I and manages to devise viable alternatives out of thin air.

Much appreciated also has been the forebearance and patience of mom of Lucas aged 9, who had to be courageous as moms do when her son went airbourne for the actual in-air takes.]]>AviationBOB GRIMSTEADCinema Products Ultra TLOW LIGHTMatt ZappalaMatt Zappala actorMAULESport Aircraft Builder's ClubAdobe Premiere Pro 2CineForm Prospect 4K v3Cinema Products Ultra T 16mmRedhead. 800wRedheads and soft microfloods Generic RedheadsRØDE Microphones NTG-1Satchler ENGSI2K FULL SYSTEMSound Devices MIX PRESun, 19 Jul 2009 13:41:15 GMThttp://exposureroom.com/6584ba69ca0f42a3a352405949b62c92/http://exposureroom.com/6584ba69ca0f42a3a352405949b62c92/
The SI2K camera had remained in split mode after being used for in-aircraft on ground taxying shots. My mistake - made in haste. I had forgotten the OLED viewfinder remains wedded to the recorder unit body. Gavan had a handful trying to aquire an aircraft in flight into a 200mm lens whilst looking sideways at the 8" screen on the recorder unit.]]>BOB GRIMSTEADLOW LIGHTMAULESI2KAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedNikon 200mm f2SI2K FULL SYSTEMSun, 19 Apr 2009 09:48:44 GMThttp://exposureroom.com/6e540d13ebbe4de5928714d445c8a62f/http://exposureroom.com/6e540d13ebbe4de5928714d445c8a62f/
This is the first time we have tried the SI2K Mini head remoted via umbilical to the recorder unit. The rig was a handheld pole, suitably padded for safety with small fill lights attached. The front of the pole socketed into a foam cushion on the coaming above the instrument panel.

The pole/camera/lamp assembly was stowed during take-off and climb until the location was reached. The very shallow front-to-back profile of the SI2K Mini head is a benefit in this arrangement.

It occupies less space than a small HDV camera, but the lens-head combination with the Kinoptik is longer.

The Kinoptik 5.7mm f1.8 was in its sweet spot of f4-f5.6. This is a C-Mount version and the thread was a bit tight, which turned out to be serendipitous because fine backfocus adjustments could be made in the air by rotating the lens in its thread about a half-turn.

The lens itself is normally collimated the mount for sharp focus at about three feet.

The tight thread meant that the lens could be adjusted without fear of it falling out of the mount. A special IMS c-mount adaptor was home-made for the job, hence the tight thread. This enabled quick changeover if needs be to other mounts without the simpler disk shaped C-mount fixed with four screws having to be removed and re-installed.

The SI2K was set at 2048 x 1152 @ 25P in adaptive mode. Due to my mismanagement, the camera was set to record .mov files. I had assumed in haste and incorrectly that the project preferences set on one camera would transfer across to another recorder unit when the same head and removable hard drive were used. Doesn't happen. - The filetype selection stays with the recorder unit.

Audio feed for authenticity was taken from the aircraft comms which incorporates a noise cancelling system. It went via a Sound Devices MixPre to the SI2K recorder unit audio-in plugs.

The aircraft used was a Maule (M6 I think). This aircraft for its size has very useful workspace within the cabin and luggage hold and a generous centre-of-gravity envelope.]]>AviationKINOPTIK 5.7MM f1.8MAULEMODIFICATIONSSerpentineSI2KYSENAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight plus soft microfloods. Nelson Pool Light modifiedKINOPTIK-TEGEA 5.7mm f1.8 C-mountSI2K FULL SYSTEMSound Devices MIX PREWed, 18 Mar 2009 09:53:01 GMThttp://exposureroom.com/3252bbde0a7f4df5839a1084dcc6e0bb/http://exposureroom.com/3252bbde0a7f4df5839a1084dcc6e0bb/
Origination was on the Silicon Imaging SI2K camera system. Lenses were Cinema Products Ultra T* Super16 capable primes and Zeiss for ARRI Super16 capable primes.

Initial colour grade was done on Adobe Premiere CS3, with Prospect4K, then exported to Blackmagic and cut in that codec to overcome some system limitations in dealing with the 2K workload.

Dialogue sound was to SI2K camera via Sound Devices Mix-Pre fed with Rode directional mike and and Sony ECM-55B body mike and recorded as stereo, split to two channels. Safety sound was aquired via Sony TCD10ProII DAT with Sony directional mike and Sony ECM-55B mike to separate stereo channels as a backup but not used.]]>Cinema Products Ultra TELIZABETHAN TAVERNELIZABETHAN VILLAGEPERTHSHAKESPEARES PUBTHE ELIZABETHAN TAVERNAdobe Premiere pro cs3Adobe Premiere Pro CS3Black Magic DecklinkChroszeil Not KnownCineForm Prospect 4K v3Cinema Products Ultra T*P+S Technik Skater DollyRedhead 800wattRedhead. 800wRØDE Microphones NTG-1SI2K FULL SYSTEMSI2K Recorder Unit inegral railsSony ECM-55BSony DAT TCD10 Pro IISound Devices MIX PREVinten Three StageVinten Vision 10Zeiss ARRI DistagonWed, 18 Mar 2009 08:59:44 GMThttp://exposureroom.com/854f7c30f2f34f93b7d5b4e022fcdfe4/http://exposureroom.com/854f7c30f2f34f93b7d5b4e022fcdfe4/
Origination was on the Silicon Imaging SI2K camera system. Lenses were Cinema Products Ultra T* Super16 capable primes and Sigmatel for Nikon 135mm f1.8.

Initial colour grade was done on Adobe Premiere CS3, with Prospect4K, then exported to Blackmagic and cut in that codec to overcome some system limitations in dealing with the 2K workload.

Dialogue sound was to SI2K camera via Sound Devices Mix-Pre fed with Rode directional mike and recorded as mono, split to two channels with bracketted levels. Tractor sound was via Sony TCD10ProII DAT with Sony directional mikes as equal stereo channels. Capture of DAT audio to computer was via Lynx Studio Technology Lynx One system for Windows. Tractor sound cleanup was done in Cool Edit Pro.]]>Cinema Products Ultra TFOX FEATHERWEIGHT TWENTYEIGHTPERTHROLEYSTONESI2KAdobe Premiere Pro CS3Black Magic DecklinkChroszeil Not KnownCineForm Prospect 4K v3Cinema Products Ultra T*Cool Edit Pro v1.5Daylight Natural UnassistedP+S Technik Skater DollySI2K FULL SYSTEMSI2K Recorder Unit inegral railsSIGMATEL ff.8 135mmSony DAT TCD10 Pro IISound Devices MIX PREVinten Three StageVinten Vision 10Mon, 20 Apr 2009 00:00:48 GMThttp://exposureroom.com/c085a24bc9754eac80b0a64f5d2c2ab7/http://exposureroom.com/c085a24bc9754eac80b0a64f5d2c2ab7/
The kaboom was engineered by a qualified and licenced professional and is believed to have been a liquidfuel-air explosion.]]>720PSI2KAdobe Premiere Pro 1Daylight Natural UnassistedSI2K FULL SYSTEMVinten Three StageVinten Vision 10Sat, 25 Jul 2009 10:00:10 GMThttp://exposureroom.com/a70ef4a12dba4b8f8c636ccfea4c8cd0/http://exposureroom.com/a70ef4a12dba4b8f8c636ccfea4c8cd0/
The vision is a bit soft as my backfocus was a bit off. A purposed relay lens should be sharper.]]>MODIFICATIONSP+S TECHNIK MINI35 -400PERTHSI2KAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedNikon 85mm f/1.8Nikon 85mm f1.4P+S Technik MINI35 '400' Image ConverterP+S Technik MINI35-400SI2K FULL SYSTEMVinten Three StageVinten Vision 10Fri, 09 Jan 2009 09:43:19 GMThttp://exposureroom.com/386d05b7260642c48c04b79fd173aee5/http://exposureroom.com/386d05b7260642c48c04b79fd173aee5/PERTHPMW-EX1Adobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedSony PMW-EX1 XDCAM EXMon, 22 Dec 2008 22:18:51 GMThttp://exposureroom.com/519a11dfd638414ea8703892218d491a/http://exposureroom.com/519a11dfd638414ea8703892218d491a/LETUS EXTREMESI2KSun, 21 Dec 2008 03:14:56 GMThttp://exposureroom.com/5f90b2ac7a254731a2bf98e37cfdbb62/http://exposureroom.com/5f90b2ac7a254731a2bf98e37cfdbb62/
The 40mm lens also picked up a right-hand edge brightness falloff. I recentred the Letus prism and that seemed to fix it. The 35mm might have been a goer for the longer lenses after all.

The wides on front seem to suffer more edge and corner brightness falloff than on the 1/2" and 1/3" cameras. It might be because the dynamic range of this camera is greater or because the imager is wider and the angle of incidence at the image edges is greater for the same focal length of relay.

A longer focal length realy lens and less powerful achromat might be the better way to go. This would mean a longer setback distance between groundglass and front of relay lens, the beginnings of an awkard appliance perhaps.]]>DIRECT RELAYEDGE BRIGHTNESS FALLOFFEXTREMELETUSLETUS EXTREMEMODIFICATIONSSI2KVOIGTLANDER 40mmAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedLetus 35 ExtremeLetus Rails V2miller LPVNikon 85mm f1.4SI2K FULL SYSTEMSigma 20mm f1.8 EX DG Voigtlander f2 40mmSat, 02 May 2009 04:22:09 GMThttp://exposureroom.com/377851c79a5a4b1e828096f34725efeb/http://exposureroom.com/377851c79a5a4b1e828096f34725efeb/
This is the image after Brightness 90.0, Contrast 71.3, RGB Gamma 181, Black Input Level 16.]]>LOW LIGHTSI2KAdobe Premiere Pro 2CineForm Prospect 4K v3Vinten Vision 10Sat, 20 Dec 2008 09:26:09 GMThttp://exposureroom.com/e69f5c04e6054217a341e7016e0ffb59/http://exposureroom.com/e69f5c04e6054217a341e7016e0ffb59/
The right edge of the prims was picked up and the wide lenses on front exhibit edge brightness falloff. There is also very noticeable edge softness.

A more practical lens focal length for relay might be 40mm. This would throw away some apparent resolution but may get inside the edge brightness falloff.

The was some post-processing of some of these images. I had underexposed them severely and it is some testament to the robustness of the SI2K and Cineform RAW system that as much brightnes and contrast pull can be had without severely degrading the image. The shot of the toddler in close-up was almost black.

There is a mauve colour cast in some white areas which is likely due more to my mismanagement of the camera than a CA artifact.

This clip has been downconverted from 2048 x 1080 25P to 1280 x 720 25P for uploading.

]]>DIRECT RELAYELIZABETHAN TAVERNELIZABETHAN VILLAGEEXTREMELETUSLETUS EXTREMESHAKESPEARES PUBSHAKESPEARES PUB 2SI2KTHE ELIZABETHAN TAVERNAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedLetus 35 ExtremeLetus Rails V2miller LPVNikon Noct Nikkor 58mm f1.2 7bl irisSI2K FULL SYSTEMSIGMATEL ff.8 135mmVoigtlander f2 40mmTue, 09 Dec 2008 11:33:07 GMThttp://exposureroom.com/d46dec40cffd4f7d839d6b3f40a2cadd/http://exposureroom.com/d46dec40cffd4f7d839d6b3f40a2cadd/
Focus with 35mm adaptors requires meticulous attention. My attention wandered when I did the shots with daylight preset.

There was also a 2- stop ND filter gel in the path.

The shutter was selected "off".

The taking lens was a Voigtlander-for-Nikon f2 40mm.]]>1080PLETUS EXTREMEMODIFICATIONSPMW-EX1TRUCOLOR V2VOIGTLANDER 40mmAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedLetus 35 ExtremeLetus Rails V2miller LPVSony PMW-EX1 XDCAM EXVoigtlander f2 40mmSat, 06 Dec 2008 13:22:33 GMThttp://exposureroom.com/be5d6c918fbd4028b3423893c6cc02d5/http://exposureroom.com/be5d6c918fbd4028b3423893c6cc02d5/
In the first shot of the cars on the street, a blue corona artifact can be observed on the roof. This is the outcome of using still-camera lenses for relay. Purposed lenses for the JVC and other three-chip cameras are specially designed to eliminite or minimise this undesirable artifact known as chromatic abberation or CA.

The streetscape was shot with a 28mm f1.4 Nikon for relay. The street is the Jull Street retail dragstrip in Armadale, about 40 minutes south of Perth City, Western Australia.

The other shots are of "The Elizabethan Village" 23 Cannes Road Bedfordale, about 40 minutes south of Perth City, Western Australia. This precinct is a replication of a tavern in Britain which William Shakespeare apparently used to visit. Nearby is a replication of Ann Hathaway's Cottage. The tavern serves drinks and restaurant meals.

If you happen to go there for few drinks and a good feed, by all means say I sent you but please be on your best behavious as I want to use the tavern as a location for a pre-production promotional trailer in the New Year.]]>720PDIRECT RELAYELIZABETHAN TAVERNELIZABETHAN VILLAGELETUS EXTREMEMODIFICATIONSPAOLO CICCONEPERTHSHAKESPEARES PUBTHE ELIZABETHAN TAVERNTRUECOLORVERSION 3Adobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedJVC GY-HD100ULetus 35 ExtremeLetus Rails V2miller LPVNikon 85mm f1.4Sigma 20mm f1.8 EX DG Thu, 04 Dec 2008 11:59:59 GMThttp://exposureroom.com/567354b362d84f7bba9fa25d62896f0f/http://exposureroom.com/567354b362d84f7bba9fa25d62896f0f/
It illustrates direct relay into the JVC camera from a Letus Extreme using a Nikon f1.4 35mm prime lens, with three prime lenses on front of the Letus Extreme.]]>720PDIRECT RELAYJVC GY-HD100LETUS EXTREMEPAOLO CICCONEROLEYSTONETRUECOLORVERSION 3Adobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedJVC GY-HD100ULetus 35 ExtremeLetus Rails V2miller LPVTue, 25 Nov 2008 06:09:55 GMThttp://exposureroom.com/39730de39b464b7b96426989d878b9a4/http://exposureroom.com/39730de39b464b7b96426989d878b9a4/
In normal circumstances a more favourable runway would have been chosen but Murrayfield's layout presented a unique challenge in that a long taxi in a strong cross tailwind would be required from the intersection of the two runways along the unpaved runway which also serves as the taxiway to the parking area.

The runway verges are soft sand which may have stranded the aircraft partially on the runway if parking the aircraft for later recovery had been attempted. There was a distinct risk of a destructive noseover or loss of control if an attempt was made to taxi from the runway with the crosswind pushing behind.

The pilot elected to land crosswind on the unpaved earth runway where the touchdown would be gentler due to less resistance of the surface to side drift on contact and he could use the differential braking effect to be had from the outrigger wheels in softer surfaces, not available on hard paved runways.

The Fournier RF4 has braking only on the single main undercarriage wheel and steerage on the ground is entirely by rudder and tailwheel.

It is the nature of all aircraft on the ground to attempt to swing into the direction of the wind, a movement known as weathercocking and the Fournier can be as susceptable as any other aircraft type and more of a handful to control as there is no differential braking.

For those who have moved about five generations on from times when a weathercock could be found on many properties, a weathercock was a simple horizontal rod with a centre pivot. On one end was a tail fin, on the other, an arrowhead.

Often these devices were deliberately styled after an arrow. It was also known as a weathervane. It was intended to swing in the breeze and always point in the direction the wind was coming from. The device was often ornamented with a form cut from sheetmetal in the shape of a crowing rooster, hence the name weathercock.

Therefore weathercocking came to define the inherent tendency of aircraft on the ground to point into wind. Aircraft with a tailwheel are more prone to this behaviour.]]>AviationBOB GRIMSTEADFOURNIERPMW-EX1Sport Aircraft Builder's ClubAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedSony PMW-EX1 XDCAM EXSun, 09 Nov 2008 01:01:20 GMThttp://exposureroom.com/6d9c9ed7794249c989747f7a3caa1fd2/http://exposureroom.com/6d9c9ed7794249c989747f7a3caa1fd2/
Several things went wrong and I lost the initial part of the display due to the rig twisting on the tripod head and losing harmonisation with the sighting camera when I pointed to high overhead.

It was purely my own stupidity because I forgot to put in a second baseplate lock stud.

There was also an incusion into my walkspace around the tripod by a professionally equipped but late arriving member of the public who was very pushy and upset a few who had pegged their spot from about 6-00am that morning.

By the time the display occurred, my attitude was all wrong and my workmanship suffered.

The ground-to-air vision was shot with a Mini35-400 on front of a Sony HVR-Z1P with a Nikon f2 200mm with Sigma doubler on back of it.

Aperture on the 200mm was tightened to f4 to try for deeper depth-of-field which put it with the doubler in the region of artifacting for groundglass work.

This prime lens plus doubler works better than the Sigma zoom but a harmonised sighting camera is now not an option but a necessity. At an effective 400mm, there is likely no advantage by going the groundglass route over using an optical doubler direct-to-camera but I am making do with the hardware I have.

The crowd vision was shot with the same Mini35-400 on a Sony PMW-EX1 with the Sigma f4 - f6.3 50mm - 500mm zoom on the previous day.

Other than conversion, no other enhancements have been done.

Bob's own SD tail cam footage from Saturday can be seen on that other site at the following web addess.

Exposureroom is generously not obsessively precious like that other site with regard to links to other video sources :-

http://www.youtube.com/watch?v=4L7BXNgltGw

You will have to copy and paste the address into your browser manually as I don't know how to do that href thing here.]]>BOB GRIMSTEADFOURNIERNIKON 200mm f2P+S TECHNIK MINI35 -400PMW-EX1SIGMA optical doublerSONY HVR-Z1PSport Aircraft Builder's ClubAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural Unassistedmiller LPVNikon 200mm f2P+S Technik MINI35 '400' Image ConverterP+S Technik MINI35-400Sigma 50mm-500mm f4-f6.3 ZoomSony PMW-EX1 XDCAM EXSony Z1Thu, 30 Oct 2008 10:11:06 GMThttp://exposureroom.com/f94b1771ded74f15809cb9faa0ae4a16/http://exposureroom.com/f94b1771ded74f15809cb9faa0ae4a16/
Be warned, it is quite a long clip of the entire sequence so is a big download

I put a 1084mm f10.5 MTO mirror telephoto on a Letus Extreme 35mm adaptor attached to a Sony PMW-EX1 camera. Way overkill and well inside the f5.6 boundary for artifacts. You will observe at the end of the clip that I finally managed to break the Sony grip on CMOS rolling shutter artifacts.

A typical CMOS rolling shutter artifact occurs but only becomes apparent when almost the entire frame is covered by the propellor disk.

Sony definitely seem to have some trick going. When there is a smaller area of rapid movement within the frame there do not seem to be any artifacts.

The camera seems to be also happier when shutter is selected off. You may also observe some horizontal frame shears on rapid movements during the follows. Sometimes these appear to be generated by the encoder during export to the windows media file.



With the 1084mm lens, the image becomes a five degrees field-of-view. It is real handful when managing a dynamic subject, something close in equivalance to 600mm with a 2/3" video camera. Another harmonised sighting camera is needed to aquire the aircraft and re-aquire if it is lost from the frame.

The resolution is a bit soft wit this lens.

I have always thought this was typical of the MTO which is quite old. However, I recently discovered that the Nikon mount I have on it appears to have had material skimmed off the face for some reason and backfocus for a Peleng Fisheye was off by 0.2mm when using it.

So I will shim it forward on the MTO and see if this improves things another day.

I substituted this mount on the Peleng because I did not have the correct size grubscrews for the Peleng's own Nikon mount which was otherwise identical in appearance.

For the flying enthusiasts, if you look carefully at the aircraft, you can observe the movements of the control surfaces and even stick movements by the pilot in one of the hammerheads.

The vision suggests that the aircraft is closer to the ground than it really is.

Since the last clip was posted, the propellor on the aircraft has been replaced with a quieter version with slightly coarser pitch. The performance of the aircraft has not been adversely affected but the noise is way down.

FOOTNOTE:


Still images of the rig used for the ground-to-air imaging can be found here :-

http://exposureroom.com/members/DARANGULAFILM.aspx/assets/0f993f3acfe84243a3f9cd2678f8ecfe/
http://exposureroom.com/members/DARANGULAFILM.aspx/assets/7d60e770eb224d6c8705a55bd42cece6/
]]>1084mmBOB GRIMSTEADEXTREMEJUPITERMaksutov-Cassegrainmirror telephotoMTOPMW-EX1SerpentineSport Aircraft Builder's ClubYSENAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedLetus 35 ExtremeLetus Rails V2miller LPVMTO JUPITER 1084mm f10.5Sony HDR-FX1Sat, 25 Sep 2010 00:45:11 GMThttp://exposureroom.com/c4100686a6f345f9844129be5542fdfb/http://exposureroom.com/c4100686a6f345f9844129be5542fdfb/
If you observe the strobe effect of the rotor blades versus the frame rate of the camera, there does not seem to be any effect on rotor rpm.

Both wide and telephoto views were shot on Sony Z1 HDV cams. One camera was fitted with an AGUS35 groundglass based image relay device, a home-build design which performs similarly but of lesser resolution to the P+S Technik Mini35 groundglass relay adaptors which are more or less the benchmark product.

The adaptors emable long lenses to be used with fixed lens-in-camera style video camcorders.

The adaptor took a solid clout during carriage to the setup site.

Vertical alignment was knocked off centre and the left edge of the prism path is also beginning to become visible. This caused the lower corners of the image to be vignetted by the outer perimeter of the groundglass disk.

The arrangement works a little better for resolution in aerial-image mode with the groundglass removed, however the Sigma 50mm - 500mm lens I use on front must be operated wide-open otherwise the iris will vignette the aerial image.

Operating this lens with the groundglass installed enables a slightly wider view with less brightness falloff into corners. In aerial-image mode, the camcorder relay zoom setting must be at maximum.

FOOTNOTE:

It is not my intention to enable unhindered public access to this footage.

It would therefore be appreciated if the offical broadcast rights holders for the Red Bull Air Race series not behave assertively against the owner-operators of this web site but instead approach me to request me to remove the vision file from this site if that is intended to be sought.]]>AGUS35AviationPERTHSIGMA 50mm-500mm f4-f6.3SONY HVR-Z1PAdobe Premiere Pro 2AGUS35 APVECineForm Prospect 4K v3Daylight Natural Unassistedmiller 35mm WOODENSigma 50mm-500mm f4-f6.3 ZoomSony HVR-Z1PMon, 20 Oct 2008 11:25:03 GMThttp://exposureroom.com/4794ab2a0bde44d0b8aaabe9c79826c3/http://exposureroom.com/4794ab2a0bde44d0b8aaabe9c79826c3/
This Storch aircraft, is not to be confused with Nestor Slepcev's 2/3 replica of the Fieseler Storch, a World War 2 German reconnisance warbird.

This Storch aircraft is manufactured in Italy. It is believed to be powered by an Australian four cylinder Jabiru aero engine of 2200cc and approx 80HP.

This aircraft is an ultralight design. The mainplane control surfaces comprise of flaperons versus the more conventional separate flap and aileron controls. The fuselage itself is very clean (streamlined) and no sound of propellor buffet along the fuselage is evident from the ground.]]>AdrianAviationJabiruLETUS EXTREMEPMW-EX1SerpentineSIGMA 50mm-500mm f4-f6.3Sport Aircraft Builder's ClubStorchYSENAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedLetus 35 ExtremeLetus Rails V2miller LPVSigma 50mm-500mm f4-f6.3 ZoomSony PMW-EX1 XDCAM EXTue, 21 Oct 2008 15:47:50 GMThttp://exposureroom.com/3f9fccb0021e47e494afea93cd2535f0/http://exposureroom.com/3f9fccb0021e47e494afea93cd2535f0/
The Fournier is of timber and fabric clad construction but do not be deceived that this is a fragile piece of work.

This aircraft is quite capable of breaking the man before breaking itself from positive G forces.

Common sense dictates that with any ageing airframe, manouvres be enacted with a little more restraint than when the aircraft was brand new and Bob operates the aircraft within a conservative performance envelope.

The propellor noise evident is caused by the blade tips exceeding the speed of sound as engine rpm increases during descents. The "silent" prop which was fitted to this aircraft was taken to the UK and fitted on another Fournier aircraft which Bob used to fly his display at the London Red Bull Air Race. So until another is found, the noisy prop is back on this aircraft.]]>BOB GRIMSTEADFOURNIERLETUS EXTREMEPMW-EX1SerpentineSIGMA 50mm-500mm f4-f6.3YSENAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedLetus 35 ExtremeLetus Rails V2Sigma 50mm-500mm f4-f6.3 ZoomSony PMW-EX1 XDCAM EXVinten Vision 10Tue, 14 Oct 2008 14:06:38 GMThttp://exposureroom.com/0e8a5ec1a3914ad09eed66d180457613/http://exposureroom.com/0e8a5ec1a3914ad09eed66d180457613/
The master camera footage which is now included. There are some shots in this assembly, things like tripod legs and shadows in the shot which you would normally not get with separate single-camera setups unless someone in the crew was careless.

The dialogue is from the master shot camera, the SI2K via Rode mic and Mix Pre.]]>LETUS EXTREMENOCT NIKKOR 58mmP+S TECHNIK MINI35 -400SI2KSONY HVR-Z1PAdobe Premiere Pro 2Chroszeil Not KnownCineForm Prospect 4K v3Letus 35 ExtremeLetus Rails V2Nikon Noct Nikkor 58mm f1.2 7bl irisP+S Technik MINI35 '400' Image ConverterP+S Technik MINI35-400PHOTAX PHOTOFLOOD RELAMPED WITH CFLRØDE Microphones VideomicSI2K FULL SYSTEMSony HVR-Z1PSound Devices MIX PREVinten Vision 10Thu, 25 Sep 2008 09:52:12 GMThttp://exposureroom.com/d60dee4bf62b484bb71ea9606c929afe/http://exposureroom.com/d60dee4bf62b484bb71ea9606c929afe/
The conversion is a back shed effort and required a new offset CP-mount as I chose the simplest method which does not involve moving the entire film path sideways towards the right.

The lens is a new-old-stock Angenieux "Compact" 17.5mm - 70mm zoom offered by Whitehouse AV in original CP-Mount, C-Mount and PL-Mount.

The lenses are brand new from a curtailed production run of the Cinema Products last camera offering, the GSMO.

The DPX scan was converted at 2K resolution with Cineform's conversion tool which can now be found bundled with Prospect 4K.

The image has been downconverted to 1290 x 720 for upload here.

You will observe a vignette on wide in the right frame corners. This is due to my inferior machining skills when I remade the CP-mount ring with an offset to recentre the lens image to the widened film gate.

Therefore, this clip should not be taken to represent the edge-to-edge performance of the Angenieux "Compact" lens. Lacking a proper four-jawed chuck I made do with shimming on of the jaws on a three-jawed chuck.

The workpiece loosened at one point and I lost centre.

Neither my right corner vignettes or the debris on the lower right frame edge are visible when the Super16mm frame is resized for HDTV.]]>ANGENIEUX COMPACTANZAC DAYCP16R FILM CAMERAKODAK VISION 2MODIFICATIONSPERTHSUPER16Adobe Premiere Pro 2ANGENIEUX 17.5mm x 70mm "Compact"CineForm Prospect 4K DemoCineForm Prospect 4K v3CINEMA PRODUCTS FILM CAMERA CP16R SUPER16 CONVERSIONDaylight Natural Unassistedmiller 35mm WOODENMon, 08 Sep 2008 03:04:55 GMThttp://exposureroom.com/a12fff28227a449b9aba4ac4a5830b07/http://exposureroom.com/a12fff28227a449b9aba4ac4a5830b07/
Production camera is a SI2K.

Behind the scenes was shot on a SONY HVR-Z1P/LETUS EXTREME combination with the Extreme modified for image centricity at widest relay at zoom position 24mm on the Sony.


LENS LIST :-

Nikon 58mm f1.2
Nikon f4 12mm x 24mm zoom at 18mm. (Wider view vignettes on Letus full groundglass as the lens is DSLR).]]>CADILLACEXTREMELETUSLETUS EXTREMEMODIFICATIONSPERTHSI2KSONY HVR-Z1P2 Lightstands With ClampAdobe Premiere Pro 2CineForm Prospect 4K v3Daylight Natural UnassistedLetus 35 ExtremeNikon 12mm - 24mm f4 zoomNikon Noct Nikkor 58mm f1.2 7bl irisSony HVR-Z1PVarious Artificial Ambient SpillTue, 02 Sep 2008 16:03:06 GMThttp://exposureroom.com/27cc38a6dcf14c319efb07bb39e69a48/http://exposureroom.com/27cc38a6dcf14c319efb07bb39e69a48/
Some enthusiasts who want enhanced performance for new cameras like the Sony PMW-EX1 have sought an even wider groundglass view to grab that little more apparent resolution provided by scaling down the groundglass particle size relative to image size.

When pushing this envelope they have encountered a frame edge coming into the image before the other, which limits how much oversize image area can be scanned by the camera.

The Letus Ultimate has a lateral and vertical adjustment built in.



The Letus Extreme does not. Unlike the P+S Technik products which have an adjustable reflective element in the flip path, the Letus products now employ a composite prism assembly which is retained in a fixed position.

The mods shown in this clip enable lateral centering adjustment on the Extreme by adding three grubscrews to the case, two for adjustment/clamping, one for clamping only.

This adjustment is achieved by small angular movements of the entire composite prism assembly. One screw is backed off as the opposite screw is advanced until the prism image is in the required central position. Two strips of brass shim metal protect the sides of the prism from pressure chipping of the brittle optical glass by the ends of the grusbcrews.

The strips are retained to the ends of the casework by thin joints of contact cement.

In this clip, the two triangular shaped pieces of brass shim are represented by two triangles of blackened paper.


Two felt strips are added to work as rocker or pivot points to allow a slight movement of the composite prism in the adaptor. Another is added to the centre spine as a pivot point.

These two "rocker" strips are twice as high (two layers thick) than any other felt strips. They have to be otherwise the sides of the prism will bed down flat on all felt surfaces and not rock when the screws are adjusted.

Two more smaller felt strips are added where the corners of the smaller prism elements are likely to strike the casework in an impact.

The centre spine is covered with a thin wrap of transparent plastic to take up clearance, provide a sliding surface and protect the composite prism from scratches during adjustment.

In place of the synthetic rubber wedge retainer is a double tapered polypropylene strip, which a third screw bears against to firm the adjustment after it is made.



To permit the composite prism enough movement, approx. 0.9mm of extra space is created by shimming the front cover forward with two cardboard gaskets.

This is not a factory approved modification and will most definitely void any warranties. It should not be attempted by anyone without advanced handyman skills and home workshop equipment.]]>EXTREMELETUSLETUS EXTREMEMODIFICATIONSPERTHSONY HVR-Z1PAdobe Premiere Pro 2CineForm Prospect 4K v3Letus 35 ExtremeLetus Rails V2miller LPVNikon 12mm - 24mm f4 zoomOEM 500w PracticalSony HVR-Z1PMon, 03 Nov 2008 09:33:42 GMThttp://exposureroom.com/b3f1c4d4461d4cd3a93df3782717e73f/http://exposureroom.com/b3f1c4d4461d4cd3a93df3782717e73f/
The fit up to the SI2K is a home made hack.

Relay lens was a Noct Nikkor 58mm f1.2. This was a bit long for the task and crops the groundglass closer to standard movie frame. A wider relay lens could not be used at the time because of a slight misalignment which brought in an edge. The outcome is a loss of resolution compared to a wider view of the groundglass.

The front lens was a Nikon 85mm f1.4 at about f2.

The SI2K was set to 720P at 25 FPS to match JVC HD-100 origination.

Crop and about 40% sharpen was added in post to see what would happen. No other correction was added in post other than to apply the Look-up file to restore colours to the RAW image.]]>720PLETUS EXTREMELOOKUP TABLELUTSI2KAdobe Premiere Pro 2CineForm Prospect 4K v3Letus 35 ExtremeLetus Rails V2miller LPVNikon 85mm f1.4SI2K FULL SYSTEMSun, 20 Jul 2008 11:54:04 GMThttp://exposureroom.com/bd191ec7a1a849b98a71c77b9aef5ee4/http://exposureroom.com/bd191ec7a1a849b98a71c77b9aef5ee4/
Shutter was set at 1/2500th sec.
Camcorder iris was wide open.
Video gain was 0db.
White balance had not been checked since a gig two nights ago indoors in mixed source lighting.
The SLR lens was a Sigma f1.8 with iris set to f5.6 to provoke artifacts.
Camcorder ND filter was selected off.

There are artifacts visible. They derive from the grubby state of the groundglass disk.

This adaptor remains a work in progress with drilling, cutting and trimming still going on.
There are a few pinhead bits if wax still on the clear and groundglass faces plus bits of dirt and plastic swarf which in normal operating conditions do not show up in the image.

Actual "freezing" of the groundglass texture does not occur but in the first sky image there is some texture becoming apparent in the top (inner) groundglass area where the surfce speed is slower.

The disk diameter is the same as a CD-R disk. The internal hole diameter is also identical to the CD-R disk. Front to rear thickness before dressing is 1.3mm after dressing it is 0.9mm.]]>AGUS35SIGMA 28MM f1.8SONY HVR-FX1Adobe Premiere Pro 2AGUS35 APVECineForm Prospect 4K v3Daylight Natural UnassistedSigma 20mm f1.8 EX DG Sony HDR-FX1Tue, 17 Jun 2008 06:19:54 GMThttp://exposureroom.com/e58d9fda886a4c5babc0680b99a8cccc/http://exposureroom.com/e58d9fda886a4c5babc0680b99a8cccc/
Thanks to CDM-OPTEL for loaning me the EX1 and to the entities Cinemascore Studios and Visionmax International for consent to post the footage.

The trailer for CONGORO can be found at www.congoro.com]]>CDM OPTELCONGOROEXTREMELETUSPERTHPMW-EX1SLOWMOTIONAdobe Premiere Pro 2CineForm Prospect 4K DemoDaylight Natural UnassistedLetus 35 ExtremeLetus Rails V2Nikon 85mm f/1.8Sony PMW-EX1 XDCAM EXTue, 17 Jun 2008 06:19:03 GMThttp://exposureroom.com/c6fa238eb57441a1818d34484ca9ff75/http://exposureroom.com/c6fa238eb57441a1818d34484ca9ff75/
I wish to acknlowledge the premium Western Australian Sony Professional dealership, CDM OPTEL, who loaned me their demonstration camera for this test.

The images and sound from this clip are and remain the copyright property of the entities Cinemascore Studios and Visionmax Intenational. They are posted on this site with consent.]]>CDM OPTELCONGOROEXTREMELETUSPERTHPMW-EX1SLOWMOTIONAdobe Premiere Pro 2CineForm Prospect 4K DemoDaylight Natural UnassistedLetus 35 ExtremeNikon 105mm f/1.8Sony PMW-EX1 XDCAM EXFri, 06 Jun 2008 15:51:21 GMThttp://exposureroom.com/1d8cda1a081d42989646a3343879664d/http://exposureroom.com/1d8cda1a081d42989646a3343879664d/
At the tele end of the zoom range, the Extreme is presented with a lens aperture of f6.3 which is outside the limit before groundglass artifacts can be expected to appear. Artifacting is evident in the sky.

This lens also provokes similar artifacting in the same circumstances on the P S Technik Mini35.

Jandakot Airport is apparently the busiest general aviation airport in the Southern Hemisphere.

]]>AviationJandakot AirportAdobe Premiere Pro 2CineForm Prospect 4K DemoLetus 35 ExtremeLetus Rails V2miller 35mm WOODENSony Z1Thu, 12 Jun 2008 08:52:31 GMThttp://exposureroom.com/f1ae69933363465aa24271159772a002/http://exposureroom.com/f1ae69933363465aa24271159772a002/ANGENIEUX 25mm - 250mm ZOOMEXTREMEKINOPTIK 9.8mm f1.8LETUSROLEYSTONEAdobe Premiere Pro 2ANGENIEUX 25Mmm X 250mm ZOOMCineForm Prospect 4K DemoLetus 35 ExtremeLetus Rails V2miller 35mm WOODENSony Z1Thu, 12 Jun 2008 08:57:44 GMThttp://exposureroom.com/63200dd846914e1fba1253f62ecdd2be/http://exposureroom.com/63200dd846914e1fba1253f62ecdd2be/EXTREMEFOUNDATION DAYLETUSLOW LIGHTMENDS STREETNOCT NIKKOR 58mmPERTHSONY HVR-Z1PAdobe Premiere Pro 2Daylight Natural UnassistedLetus 35 ExtremeLetus Rails V2Nikon Noct Nikkor 58mm f1.2 7bl irisSlik MasterSony Z1Wed, 18 Nov 2009 20:52:20 GMThttp://exposureroom.com/88f8ec80085a48bba71bcd47ab802154/http://exposureroom.com/88f8ec80085a48bba71bcd47ab802154/AGUS35Adobe Premiere Pro 2AGUS35 APVEDaylight Natural UnassistedSIGMATEL ff.8 135mmSony Z1Thu, 12 Jun 2008 09:01:50 GMThttp://exposureroom.com/5045de981ef84655b98c75b6f2bf0466/http://exposureroom.com/5045de981ef84655b98c75b6f2bf0466/EXTREMELETUSMINAWARRA PARKSONY HVR-Z1PAdobe Premiere Pro 2Daylight Natural UnassistedLetus 35 ExtremeLetus Rails V2Nikon 50mm f1.2Slik MasterSony Z1