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GY-HD 100 & 200 series ProHD HDV camcorders & decks.


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Old February 10th, 2009, 09:22 AM   #16
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Join Date: May 2005
Location: Allen, Texas U.S.A
Posts: 1,117
Dan,

I'm using an adapter with the sgpro achromat on the stock fujinon. Are you mounting the achromat to the fujinon via an 82-72 step down ring?

The reason I ask is, in my set up i was able to get better performance from the achromat when I removed the anti flare ring (the plastic ribbed ring) inside the front lens barrel. Doing so allowed me to "push" the achromat snug against the front glass element of the fujinon. This allowed me to get a bit more edge to edge sharpness and pushed the slight barrel distortion found outside the overscan area more to the edges of the frame.

My second query is, did you modify Paolo's True color file for the HD200?
What did you change? The reason I ask is, in your footage you seemed to have been able to manage the reds. In a project i did using the TV3 for hd200 the reds has too saturated.
I found your color palette pleasant.
I shifted to a modified version of Tim's superwide.

Ted
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Old February 18th, 2009, 07:00 PM   #17
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Join Date: May 2007
Location: Brighton, UK
Posts: 153
Hi Ted

Sorry for the late reply, I have been away on an exhausting job (22 hour days!).

In answer to your first question, yes we are mounting it via the 82-72 step down ring I wasn't aware of the anti-flare ring...will have to look at this to see if we can get a better fit

In regards to Paolo's True color file for the HD200, I too found the reds over saturated, so simply dialled them down.... even so we had issues with this, especially with skin tones, but using Cineform as an intermediate for editing seems to help,

Regards
Dan



Quote:
Originally Posted by Ted Ramasola View Post
Dan,

I'm using an adapter with the sgpro achromat on the stock fujinon. Are you mounting the achromat to the fujinon via an 82-72 step down ring?

The reason I ask is, in my set up i was able to get better performance from the achromat when I removed the anti flare ring (the plastic ribbed ring) inside the front lens barrel. Doing so allowed me to "push" the achromat snug against the front glass element of the fujinon. This allowed me to get a bit more edge to edge sharpness and pushed the slight barrel distortion found outside the overscan area more to the edges of the frame.

My second query is, did you modify Paolo's True color file for the HD200?
What did you change? The reason I ask is, in your footage you seemed to have been able to manage the reds. In a project i did using the TV3 for hd200 the reds has too saturated.
I found your color palette pleasant.
I shifted to a modified version of Tim's superwide.

Ted
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