Thread: Nikon Lens Adapter

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  1. #41  
    Senior Member Finner's Avatar
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    Boothba I have never seen a nikon mount adapter that will fit on a PL mount. I have never looked for one but I highly doubt there is one??????

    This DUST on the sensor thing is very interesting. It looks like it may have to be something that is tested when RED prototypes come out. I would be interested seeing how RED reacts to a slightly dusty exterior area for one day of production shooting?
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  2. #42  
    Senior Member Sanjin Jukic's Avatar
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    I am just repeating the good old lessons about a dust cleaning sensor

    Understanding Digital SLR Sensor Cleaning
    http://www.luminous-landscape.com/es...cleaning.shtml
    Cleaning DSLRs - the Dust Fight
    http://www.burren.cx/photo/dslr_cleaning.html
    Cleaning the CMOS Sensor...
    http://photo.net/equipment/digital/sensorcleaning/
    Dust Busters!
    How to clean dust off of your DSLR's sensor without ruining it (hopefully!)
    http://www.adorama.com/catalog.tpl?o...article=073106

    ...etc...
    "There is no point in having sharp images when you've fuzzy ideas."
    Jean-Luc Godard.

    Dynamic range is, after all, the measurement between well saturation (photosite blowout) and noise floor.
    Thom Hogan
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  3. #43  
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    Thanks Finner & AppliedVisual

    I'll try calling RPlens and see if they have a solution. Their rehoused Nikons and Canons seem to be marketed directly to the HDV / P+S Technik crowd (I think Red will soon be a bigger crowd, and much more in need of quality glass). I'll report back with any info.
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  4. #44 Are you sure, Finner? ; ) 
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    As I could tell you, we are working in the indie filmmaking realm. We are a few but yes, I am the man in charge:

    Since I finished the 5-years degree in Law with specialization in Economics [LINK] [LINK] plus the postgraduate diploma in Communication Law (Audiovisual, Advertisement, New Technologies and Copyright Law) [LINK] and a Master in Audiovisual Management with specialization in Film Production [LINK] [LINK] where among others I had opportunity to learn with Fernando Ghia [LINK], Christopher Vogler (former executive at Disney and screenwriting guru) or Claudio di Persia (Sony Pictures Entertainment/Columbia TriStar VP/General Manager, AXN/Sony TV channel founder, former Telemundo Network VP, etc), I've been prepping the future -- that's for sure! But I am a young fellow, yet.

    In the footsteps as awarded film critic [LINK] sharing the same locations with artists such as Zoë Lund or Jonas Mekas, I started a career as TV producer, working for the national portuguese state TV [LINK] (succeeding my previous TV work) and I prepared the fundraising (to the portuguese film institute [LINK]) of «I Cento Passi» [LINK] -- triple awarded at Venice International Film Festival including Best Screenplay.

    Meanwhile, I finished in Filmmaking a BFA in Film Editing and a MFA in Film Directing [LINK] general links: [LINK] [LINK] where I could do part of my education with the Spielberg's E.T. editor Carol Littleton [LINK] (as far as my own native editing background is concerned) or with her husband, the well known hollywood DP John Bailey [LINK] or my fellow countryman Eduardo Serra [LINK] (strictly concerning the cinematography education field) among others even beyond the film school, such as Krzysztof Kieślowski's editor Jacques Witta for example. As well, studies in Film History and Aesthetics a few years before during my law graduation in the local University [LINK] (in portuguese language).

    As instructor, I've had contact with the education and training areas, as for instance, into two higher education institutions where, as lecturer or professor at the media department [LINK] [LINK] [LINK] [LINK] I began my teaching career on filmmaking subjects beyond the movie business.

    During these years, they have been several the entities which I had contact ex. Vila do Conde International Short Film Festival [LINK] where I began in Portugal or in Spain [LINK]. Or still the professionals with who I have been working with. Carlos da Silva (ex-director of Cannes MIPTV and former collaborator of Luchino Visconti, Claude Lelouch, Jean Gabin, Gérard Depardieu, Ben Kingsley, George Sluizer, etc) with who I began @ arthouse production as apprentice. Or José Álvaro Morais, one of the best promises of the european cinema -- the future Manoel de Oliveira for my fellow countrymen and women, missed unfortunately.

    These days? We are developing an investment in the field of the digital cinema. Personally, I am working at the consulting area where beyond the fundraising sector, I have been invited and contacted for some professionals of this business, pursuing local opportunities at the European Union's level and international cooperation (or joint ventures), as for example, during the last edition of the Lisbon Village Festival [LINK] where with Antonio Bottiglieri, director of the italian national state TV RAI's [LINK] and its technical research department, under request and insistence of the italian side, I could offer my humble contribution to the beginning of the negotiations for the european Qube's expansion [LINK] [LINK] along 2006.

    Here is a summary of the summary related to what already happened 'cause on my future projects I don't confess not even to the walls of my office. ;-)



    Quote Originally Posted by Finner View Post
    Sounds like you have found a job you really love. I understand where you are comming from now.

    By the way do you have a website for your co-op. I would be interested in looking at it.
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  5. #45  
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    Quote Originally Posted by AppliedVisual View Post
    The distance from the lens base or flange for a Nikon mount is like 46mm or something and for PL mount it's like 52mm.
    Jim has been saying: «the Trick is to have the base to intermediate mount distance set at the factory and leave enough room for all possible mounts».



    Quote Originally Posted by Finner View Post
    This DUST on the sensor thing is very interesting. It looks like it may have to be something that is tested when RED prototypes come out. I would be interested seeing how RED reacts to a slightly dusty exterior area for one day of production shooting?
    I wouldn't say the dust problem on the sensor thing could be very interesting... :D but your realistic concern is right, fully right. The things on the paper don't work in the same way than the field where the things happen for real (and not from where our anxieties are coming from) -- we'll hope for news instead leaving any room in any way other than as spreading potential FUD. But for sure, there will be some questions we need to know answered. As it was already posted, there are other options to make (includes budgeting) directly related.
    RED ONE @home
    #111
    Emanuel & Co's RED ONE
    #647
    RED ZOOM LENSES
    #156
    #157
    RED 300mm LENS
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    Who am I?

    * LINK *
    ** IMDb **
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  6. #46  
    Senior Member Roberto B's Avatar
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    c'mon agnostic guys :p loooooooool let the dust settle down..
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  7. #47  
    Senior Member Jochen Schmidt-Hambrock's Avatar
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    Well, I´m starting to doubt if ordering the 300mm is making sense.

    For my own projects I´ll use Nikkor´s and if getting out the PL mount 300mm is a risky and time consuming business I maybe have to rethink.
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  8. #48  
    Senior Member Finner's Avatar
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    Personally I am not sure how well the red 300 will match the nikons anyway. You are always best to stick with a matching set of lenses.
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  9. #49  
    REDuser Sponsor Brook Willard's Avatar
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    [edit: thanks, guys]
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  10. #50  
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    Quote Originally Posted by filmmaker's gang View Post
    you see finner.. fine work there.. with your clever inputs, red will lose money..
    Dude... that's crazy on so many levels. For instance this discussion has led me to rethink the Nikon approach in favor of buying more PL primes from RED. Perhaps Jim will read Josch's post and in a fit of panic rush to release a very affordable set of RED primes! :D

    Please don't scold posters for sharing legitimate information.
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