I suppose you might be like 99.99% of people and not know that if you directly log and capture a Hi-8 in RAW or similar, with two fields, AND interlaced, you can de-interlace it later, and double your vertical resolution. The difference is shocking. Properly de-interlaced 480i uncompressed can absolutely compete with 720p. I have even made it surpass 720p with a good lens and camera, with a fresh tape. Interlaced 480i is actually 240p vertically. Gotta de-interlace man.
Ya the device I use now deinterlaces by default. It’s weird premiere doesn’t do it even if you apply it. Fcp 7 did and you could choose all the options at capture. Those days are gone though. But yes interlacing on capture is a killer for sure. You have any device recommends?
@@MarkHoltze I don't as I'm messing around with it myself. I’m trying capture the DV footage from a Canon HV20 HDV camera which actually has HDMI out, but I'm using an Atomos Ninja V which isn’t recognizing it at all. I tried asking Atomos but they have yet to answer,
ive got an older version macbook air that doesnt take USB C but thunderbolt instead. would it be okay to use this adapter with a usb c to thunderbolt adapter as well? most of the videos say i need the miniport to dual dvi adapter but its so hard to find one in my country.
What do you think is better this or the Elgato Video Capture? I am worried elgato will be too complicated and hope issues like interlacing aren't a thing.
I have a Hi8 Samsung SCL700 and one tape cuts off about an hour in and it says "R.EMG/Eject" and another tape won't even play it says "L.EMG/Eject" other tapes play fine, so I am assuming it's a tape issue not camcorder, how can I fix this?
Copy of a prewar zeiss design a pos unless your looking for distortion and chromatic aberations. Umm i have a glass ashtray that has impresive distortions and bubbles..
So let's say I picked up a more than a few totes full of old cameras and lenses. And discovers that they were radioactive after having like 10+ totes under my bed for the last week.. since moved them to another room of my house but I have a long process of playing with them ahead of me for a while, guess I didn't get the small dosage memo 😂 wonders why some of them looked so cool !
If you want the true DUNE II feeling you'll have to mount this on an ARRI ALEXA 65, to utilize the swirls not seen in full frame. It also makes this into a 40mm equivalent lens with the bokeh of a 1.4 lens on full frame, so that's why they used it on DUNE II, to get the parts of the lens that is not visible for consumers.
I think you get a similar look on open gate but ya the 65 is close to “open gate”. Also you can really exploit the swirls with the right subject to camera and subject to background ratios.
👏🏻 Thank you *so* much for the great video. I am trying to do a transfer using an older Mac (all FireWire 1 to FW2) and having problems. I am going to try using my newer Mac with all the adapters you shower so hoping it solve things. Thanks again!
Completely disagree. They’re great. It’s easy to de yellow the ones that are radioactive. Lots aren’t so that generalization doesn’t work. I’ve done loads of reviews on them as well, very evidently not bury and yellow. But you are fully entitled to your opinion :) sorry your experience with them isn’t great. Lots of other options. Any favs?
Hey Mark, Iam a brazilian cinematographer building a Contax Zeiss set. As I am in Brazil due taxes have to import both the lenses and the focus gears at the same time, so before I have the set. As you have grandmaster rank on these lenses could you share the measurements of some of then?
Yo! Best resource to use: beta.aperturepedia.com/zeiss-cy/?fbclid=IwAR22nuTJOIB9Jr8JKmOX5bnhQqmH3XOck0oe5tiCPw1m3Bs8cGHUFTVSZx4 Will give you all the measurement info you need! Hope that helps mate! Let me know
Hi there, I've been researching how to convert mini DV tapes to a hard drive, but I have not had much luck. My issue is that I have nearly 150 tapes, each 63 minutes long, that I want to transfer. So, is there any easy and quickest way to do the same???
I was 4 years old living a few km away in Lwr Sackville when this was filmed. I often thought wouldn’t it be cool if somehow you could jump into one of these videos and visit yourself back in the day.
Ya I’m aware of the measurement discrepancy. I was giving general history of the 44-2 not the M. Its meant to trigger deeper investigation for those interested. There is nothing inherently interesting about the 44m outside of its part of the 44-2 lineage which is a carbon copy of the German Biotar 58. :)
@@MarkHoltze Good boy, thats correct! Sorry I come across like a **** sometimes! I would rather have your videos out there, fun informative, well made with something incorrect, than someone like me making them! I have a collection of Zeiss vintage lens only because I started cinematography with Russian 35 and 16mm and using glass like the Krasnogorsk produced still image sets. I highly recommend anyone starting out in either genre to look for Helios, Mir, Jupiter etc, although I find Zeiss and CZJ are often cheaper now!
Thanks mate, it's actually a natural occurring element when capturing interlaced video. This stuff is shot at 60i. You can remove it, but i do like it. Video TEXTURE of the time.
I have a six elements design, 6 blades of the Tak 135mm SMC f2.5, and the number is 43802, and mine has the 30 besides the infinite logo and there is no number 4. My copy is very soft in the center at f2.5, only at f4 it is acceptable, I saw other reviews saying the same thing, you got a great copy, of the latest and best design.
Inexpensive luckily... 2 of the 4 adapters are apple adapters and cost 40€ each. Imo dropping 110€ just for adapters is absurd when one can get a nice minidv camera for around 50€
@@MarkHoltze Crazy turnaround! In the desperate search for some cheap options I found a mid 2010 macbook pro 13 that has a firewire port for 80€ I also found a 4pin to 9pin firewire800 cable for around 15€ so basically I got a whole laptop and fixed the problem instead of spending the same ammount of money for 4 adapters xD
younger generation dont know this model so you can sell this monitor as a new one limited hidden edition to some young enthuziast for 1500 $ :) because it still look amazing as a part of the newest line product in 2024
I would personally never spend the money to rehouse a lens for dedicated long term use on a DSLR, but you can get EF mounts as an option so if you’re rehousing these Soviet lenses it should work.
I had the earlier non-SMC-Version which is quite similar in the setup. Anoing was the easy to missalligned filter ring and the exposed front element (you mentioned too). I liked it very much, but lens flare was quite significant w/o the SMC coating - so I changed to the later SMC-K-Version. There is a small lens hood buildt in to allows to take fotos throug a window by leaning the hood to the window glas. Further the wilter ring is more protected against missalignments. I use it quite often als a Super-WIdwangel lens on my Pentax K1 because it is so small that it allways fits to the camera bag. With PT-Lens it is easy to correct the destortion in postprocessing.
Seems a lot cheaper to just get in analog to HDMI converter capture card and OBS but I guess any which way you slice it you're gonna spend a little bit of money
ya those cards are great options....a lot of people who do this though aren't quite sure how to handle it...install it etc. They just want a quick and easy/reliable transfer. Capture cards are the best options ultimately though. Not an option on laptops (most) anyway.
Thanks for these tips...I have a classic Nikkor 55mm-macro lens f/1.28 that I haven't used in a couple of years, but now I'm ready to fall in love with it once again! Again, thank you!
It’s weird because so many lenses JUST coming to market are PL mount not LPL mount and also with cinema cameras still having smaller sensors then say medium format cameras why the extra wide opening with shallower depth.
The more affordable cinema primes are like that, but the higher end lens guys are going LPL because it leaves them more back space clearence between the end of the lens and the sensor. This gives closer focus options to wider focal lengths and even leaves room for more elements for sharper images on others. Also not all lenses can be adapted to PL, but all lenses can pretty much be adapted to LPL so for those adapting older vintage lenses to a locking mount option, LPL will ensure compatibility, PL will not. I'd say given Simmod is more in the field of adapting older lenses the "new lenses coming to market" aren't in their wheel house, but I could be wrong. It's still a solid LPL adapter for those wanting to use high end rental house Arri lenses on their mirrorless/cinema cameras RF/E/L mounts.
