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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

New mount...

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redicule said:
To clarify not meant to be a dig at the co. I'd rather see objective comments and questions that "raaaaa!!!!! f*****king awesome!!!!!!" Of course everyone is entitled to react.....
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Mr Ridicule,

What you post are not objective comments but rumors and old news. And yes, it looks like a direct dig at RED as there is nothing constructive in your post. Everyone knows there have been and will be problems as this develops.

A - Do you have a RED camera on order?

B - Do you work for another camera company and only post here to cause trouble?

C - Do you have any grip on reality?

That this camera even exists is amazing. That RED allows us to come on the journey instead of waiting for another year to even see it, amazing. That the cost / value relationship is off the charts. That to compare RED to any other camera company who has been in business for many years is silly. That things are changing too fast for most to understand that this is a new way of doing business. Please stop applying your old school BS to this dynamic process.

If A is no and B is yes -- then would you please go away and leave us alone with our joy at having a REAL affordable camera solution to shoot 4k. From the most amazing camera company EVER.

I think I know the answer to C ... or maybe you are just one of those people who bitch about everything. How about going away for a year and then come back and see how things are then because people like you just imped progress and waste our time. Thank you.

---------------
 
Wow, thanks Jim! I'm very thankful you have solved this problem!

Although I wonder if we now have a different one--hotshot ACs /DPs adjusting collimation whilst out in the field on rental, screwing it up, then blaming the Red or Red Owner when the footage is soft.
 
Shawn Nelson said:
Wow, thanks Jim! I'm very thankful you have solved this problem!

Although I wonder if we now have a different one--hotshot ACs /DPs adjusting collimation whilst out in the field on rental, screwing it up, then blaming the Red or Red Owner when the footage is soft.
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in my opinion, its the 1st AC's job to make sure the camera is in focus, so they should have the liberty of correcting back focus. They also assume the liability that if they get it wrong, they take the heat.
 
Enzo said:
Mr Ridicule,..
yes, it looks like a direct dig at RED as there is nothing constructive in your post...

C - Do you have any grip on reality?

..Please stop applying your old school BS to this dynamic process.

If A is no and B is yes -- then would you please go away and leave us alone with our joy..

I think I know the answer to C ... or maybe you are just one of those people who bitch about everything. How about going away for a year and then come back and see how things are then because people like you just imped progress and waste our time. Thank you.
---------------
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This stole my time Enzo. Calm down.

Jim: Mount looks great.
 
lboyce said:
Can anybody comment on the status of the Nikon mount?
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We just finished the new PL mount. Now we can start working on the Nikon mount.

Jim
 
Thanks Jim. Can you say how hard it will be to switch between PL & Nikon mounts? Being able to switch out on-set would be terrific.

Right now all I've got is Nikkor glass, and I'm trying to decide whether to invest in cine lenses or put that money elsewhere for the time being. The ease of switching mounts will be a big factor in whether I get some RED lenses.
 
I like the idea behind this new mount, seems to be made for real world.

good thinking IMHO.
 
Can you please confirm that physically this is the same size as the old mount. I am having a case laser cut as I type and want to confirm that the physical dinemsions have not changed.
 
AKABAKA said:
Thanks Jim. Can you say how hard it will be to switch between PL & Nikon mounts? Being able to switch out on-set would be terrific.

Right now all I've got is Nikkor glass, and I'm trying to decide whether to invest in cine lenses or put that money elsewhere for the time being. The ease of switching mounts will be a big factor in whether I get some RED lenses.
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I think a lot of people would want this -- easily switchable mounts. Motion seconded!
 
chuck colburn said:
Nice.
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Well it's super nice actually Chuck because even a lens klutz like me can get it. Loosen - twist - check focus - tighten. Did I miss something in all the excitement?

Cheers for you help with Angenieux BTW, top stuff!

All the best, Phil
 
nzben said:
...if I adjust to one set of lenses, will it not neccessarily work with another set? (or individuals??) If this is the case, it would be more like having backfocus on a video camera, except the adjustment is moved to the camera rather than being on the lens. And will we potentially have to check or fine tune the port on each lens change?
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Remember that proper lens collimation requires two things: correct sensor->mount distance (on the camera), and correct mount->optical surface distance (on the lens). (I'll leave off parallelism and concentricity). If your camera is off and the lens is good, then your focus is off. If your camera is good and the lens is off, the focus is still off!

If you have an off-spec lens and you "tweek" your camera mount to match it, then you have two wrongs that happen to add up to a "right"... for THAT LENS ONLY. Any other (good) lens will appear to be off when mounted on that "tweeked" camera. If you find that some lenses are good and some are not, when mounted on the same camera, that can ONLY mean that some of your lenses are off-spec. The only way to tell which lenses are out of calibration is to have a service tech check them with properly calibrated tools.

I wonder if people may be noticing collimation issues more now because Red has both very good resolution and also immediate feedback. Maybe if you're on a big feature, your lenses are always in excellent condition. Maybe on an indie production, with rented / borrowed older lenses, some time-consuming procedures aren't done so often, possibly?... I don't mean to blame anyone for anything. Just saying Red makes it quick and easy to find out how bad (or mis-matched) your lenses are.

I know that back when I switched still cameras from film to DSLR, the first effect of shooting lots of frames with immediate high-quality feedback and the ability to look at 1:1 images on the computer was... I realized how bad my old lenses were. I had to upgrade them. (Now in that case it was lens abberations and general softness, not the absolute accuracy of focus marks, but I think the same factors are in play going from film to digital.)
 
Jannard said:
We just finished the new PL mount. Now we can start working on the Nikon mount.

Jim
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I AM wondering if the new mount could be easily changed to new different lens mount such NIKON CANON,,....etc,,,,
QUESTION :
IF we put another lens mount ,,for example canon or nikon ?
is there is too much to do for recalibrating FFD ?:wacko:
 
Jim,

as some others here I'd also like to know if the entire mount can be replaced?

Honestly I HIGHLY APPRECIATE the new mount, as I was moaning about the IBC demo camera to have a bad back focus on the show and at that time the answer was not a new mount, but - and thats what I like - things changed for the better :) AND you listened, thank you so much for this.

Its just that there are situation where we'd like to use other kind of optics and where the PL mount may not be the best option at all. Though my question is if the entire mount can be removed, even for the effect that it might necessarily be recalibrated when getting mounted again?

A simple yes or no to this would do :)

Potentially disqualifying myself with a thumb question:

I am not to used to handling PL lenses myself yet, but is it ok when the front ring seems to be rotated compared to the camera (it appears so on the photo you've started this thread with)?
Or will it be straight when the lense is tightend?
Or do we just not need to care about it at all?

Looking forward to you answer!

Thanks,
Axel
 
jbeale said:
Remember that proper lens collimation requires two things: correct sensor->mount distance (on the camera), and correct mount->optical surface distance (on the lens). (I'll leave off parallelism and concentricity). If your camera is off and the lens is good, then your focus is off. If your camera is good and the lens is off, the focus is still off!

If you have an off-spec lens and you "tweek" your camera mount to match it, then you have two wrongs that happen to add up to a "right"... for THAT LENS ONLY. Any other (good) lens will appear to be off when mounted on that "tweeked" camera. If you find that some lenses are good and some are not, when mounted on the same camera, that can ONLY mean that some of your lenses are off-spec. The only way to tell which lenses are bad is to have a service center check them with properly calibrated tools.

I wonder if people may be noticing collimation issues more now because Red has both very good resolution and also immediate feedback. Maybe if you're on a big feature, your lenses are always in excellent condition. Maybe on an indie production, with rented / borrowed older lenses, some time-consuming procedures aren't done so often, possibly?... I don't mean to blame anyone for anything. Just saying Red makes it quick and easy to find out how bad your lenses are.

I know that back when I switched still cameras from film to DSLR, the first effect of shooting lots of frames with immediate high-quality feedback and the ability to look at 1:1 images on the computer was... I realized how bad my old lenses were. I had to upgrade them.
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That's right jbeale. As Jim and you both point out if your lenses are not all set up to a consistent standard they will not be interchangeable to the degree of precision that you may require. Another point is if your zoom lenses are not set up for proper front focus (the long end) and proper back focus (the wide end) it doesn't matter where you set the flange focale depth on the camera as the lens will not hold consistent focus (as good as it inherently is capable of) thru out the zooming range. Anyhow besides all the pitfalls of adjusting flange focale depth of a camera lens mount, I believe this new mounting system is a huge improvement. Now if RED would post an isometric exploded view of the whole assembly I will give my final blessing of this new mount. LOL
Once again NICE work.
 
Jarred Land said:
in my opinion, its the 1st AC's job to make sure the camera is in focus, so they should have the liberty of correcting back focus. They also assume the liability that if they get it wrong, they take the heat.
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That is as they say... the bottom line. If you don't trust your 1st then things are not good right from the start. Or if you are really concerned and you got the budget bring along a camera/optical tech. They love to get away from the bench every now and then. Besides most of them want to be camera men anyways. I know, I lost a few of them over the years. lol
 
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