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It does make me wonder. What would it actually take to make this in a digital form? I understand that in the strictest sense. Yes. If we are talking about an actual sensor, then yes, we'd need a curved sensor big enough to cover the 16 or whatever number of perforations of the width. But... let's assume we opt for not a raster sensor in the usual sense. But a single line sensor? The speed of the spin would still set the exposure time, you'd just retime the samples for each row to get the pixels to match a square pixel aspect ratio... I am curious. Would this not work? Would it not be able to negate the motion blur of the spinning sensor by it being a single row that moves quickly? I guess, a simpler version would be to do it the Cinerama way with three synced sensors and a fixed calibrated stitching method to simplify the backend... But I want to know if the single line method could even work. But... still.. Now I'm curious if I can build a cinerama-camera with a rPi and three sensors... dammit. You've gotten me to think about stuff I maybe could build!
I have a question about the PENTAX 67 Rob. I have the 105, 55 and 75 all SMC pentax. For some reason, with the 105 and the 75, when I stop down the aperture in manual mode, it also stops down the lens. So if my lens is at 22, I can't even see what I'm trying to get in focus because it's too dark. The only lens that doesn't stop down is the 55 - I can see a bright screen at all apertures. Do you know why this happens to the 105 and 75 but not the 55? i have to focus wide open and then fix my fstop its pretty annoying. Do you have this issue or is my copy defective? the viewfinder is only bright in all apertures if i ahve the lens in automatic mode once i switch to anything lower than f11 i basically cant see anything in the viewfinder its wayyy too dark.
I am under the impression that 5:18 all of the 6 by 7 or 67 or 67 MLU or 67II cameras should have the lenses switched to “AUTOMATIC” and not “MANUAL”. This should produce a bright view all the time. Maybe you know this ? This switch is on the side of every lens. Thank you. RS. Canada
Damn, you managed to snag one right before the price started climbing again, ofc you probably don't want to cash in on it but you'd make a tidy return!
The 67 is a wonderful beast. Unfortunately, I depend on a different film camera for wandering on foot through various Balkan countries. My choice? A Zeiss folder. The 67 weighs more than my tent.
X-Pan or Fuji 617 cannot be compared to Widelux because images of the same subject render completely different. Contenders of the Widelux are russian Horizon, german Noblex and swiss Seitz Roudshot
I purchased my 67 kit over 30 years ago brand new. Cost $400 for a body, compared to a $600 Hasselblad A12 film Back!!! So smart Fashion Photographers made the switch from 35mm SLR to the 67 in a seamless manner. Then purchased 4-6 bodies and a dedicated body with an NPC Polaroid back. Unlike a modular camera system which used a single body with changeable film backs. Using multiple 67 bodies reduced the camera wear that a single body experienced. So a lot less repair down time. The 105mm f2.4 lens was actually the CHEAP Kit lens. The 90mm f2.8 non leaf shutter is actually the superior optic. Today's Hipster Analog film shooters have discovered the 105mm and raised the price of this CHEAPO lens to unseen heights! Best range of glass to use for a 67 format kit. The 120mm Soft lens being Fantastic for Dreamy Portrait/Landscape work. Heavy massive Variofocal and long Tele lenses are also available. And even a Full Frame Fisheye lens to boot. Just be sure to carry spare batteries for the body. A battery will last a loooooooooooooooooong time. The SMC multi coating gave these lenses superior ghost prevention, contrast and color rendition over Zeiss Optics. That's why many photographers used B&W film with the 67 kit. A favorite with Mountain High Altitude shooters.
For any professional video editor the "go to" is resolve whether a newbie or professional. Stick with Resolve. It way better than Avid. Most big studios are going with Resolve now. I have tried all 3 apart from Final Cut Pro and every time Edit with Resolve my mental state is good. Things are easy to learn. The UI is great. Everything is where it needs to be. I went from Premiere to Resolve then tried Avid and stick with Resolve.
Avid gets top marks for stability and reliability for long-form work, and seamless backward compatibility - but poor plug-in support and titling and zero marketing to a younger generation relegates this to a smaller group worldwide...who knows what the future holds...
I absolutely love my 6x7. I dont have hundreds of rolls through it, but many. And the quality and of pics and ease of use make it a dream. Last week I had a mishap and it fell off the tripod. Getting it repaired for a couple hundred (AND finding parts) makes it worth the repair costs. They are getting harder to find in good condition and will bring years of quality photography. Be safe.
Great advice - I have not edited in 4 yrs - I'm stepping back into the high end game on AVID MC - super excited but also nervous. - must get back on track to edit a feature film - its my dream. Thanks, Rob. Adam here from Cape Town
Very good overview, thanks. Just got myself one a couple of weeks ago and only made a couple of tests shots so far, but it draws beautifully. I am normally a nikon 35 shooter, but I have also a pentax 645, which is very good, but this is clearly a real jewel of photography. I bought everything (body, lenses, grip) on ebay from Japan, beware, it comes with hefty customs when you are in Europe, like 30 pc on top of the buying price.
Remove the lens before removing the prism to avoid breaking this chain. Then put the prism back on before you put the lens back on. Check an expert to be certain of not breaking this chain that is NOT in all of these Pentax medium format cameras ( for example : the 67ii has no chain )
Nice overview, Rob. I have 2 of the non-MLU bodies with 4 lenses including the 105mm f2.4 lens. I just recently had both bodies and meters completely rebuilt by a 6x7 expert. I keep one body loaded with color and the other body loaded with B&W. Regarding the mirror slap, I've found that it really only effects handheld shots made a 1/15 to 1 sec. Shots on a tripod or slower than 1 sec are fine. BTW, since I shoot mainly landscapes I usually shoot in the sweet spot of f8 and f11. F2.4 only if I want to accentuate a subject with a blurred foreground and background.
Thank you for the video,it really helps.But my mamiya6mf doesn't work after i change the lens.The battery seems fine,and the lightmeter works good,and the red light on the corner always on,i'm so confused now😢
For picture editing in Hollywood, most things are on Avid. Some on Premiere. Mostly smaller single editor projects. For TV shows with multiple editors, which is most of them, it’s nearly 100% Avid. If you want a career making RU-vid videos or wedding, use whatever you want, but if you want an actual career, learn Avid and Premiere.
Well, if a person can afford a car or a vacation then they can easily afford this. Fortunately, I don't have a car so I can afford this lens. Just ordered one yesterday. *grin*
great and hones explanation. I have used premiere, fcpx and resolve. if you want to edit faster, nothing can beat fcpx. because of the magnetic timeline. and i love the speed ramp technique in fcpx. i Iove it. but now im I'm working with resolve for years. it's a beast. it is really made for editors. sometimes i jump to after effects for motion graphics. but i will never return to premiere again. if you are just starting editng go with resolve.
You say everyone is talking about 105mm and you're right! I just really wonder why. I've had both the 105mm and 90mm at the same time, used both a lot and don't understand why the 105mm is so strongly and consistently preferred. There is something important here that I have not understood. So far, I say that the 90mm is sharper at fully open aperture. It has less coma into bright objects in the image, it is more linear with less distortion, it has less chromatic/purple color abberasion and with less flare and ghosting. I think almost all important criteria for evaluating the quality of a photographic lens speak in favor of the smaller, lighter and more modern 90mm f:2.8. In any case, I can tell everyone that shallow depth of field, 3D pop and bokeh from the 90mm fully open can really impress! Before I get this, it must be the old-fashioned classic look from the 105mm lens that can explain the apparently overrated status and hype. Perhaps portrait photography profiles the less perfect rendering. Let me understand - I'm listening!
@Rob Zeigler , I’m picking up an m9 now that is apparently still clean but old sensor. Has your m9 deteriorated since this video or is it still the same? Thanks
Thank you for information and advice. We regret the absence of version 7 of FinaCut, which was quick to respond and smooth I have use avid mc strong software little heavy take computer source and need a lot of space transcode mxf... I use premiere pro 2021 now I didn't feel comfortable with fcpx10 and resolve . Hope adobe make premiere better in future and clone to avid mc. Unfortunately, in Europe, it is difficult to find a job in video editing and motion graphics Greetings
Hey Rob! I found this video from researching this exact topic. Would be amazing to hear more about your career journey - perhaps how you got to where you are. I'm definitely keen to know more about it, coming from someone who's also from Sydney. Really informative video mate, thank you!
Hello, any suggestions on an advance lever delay? Just got a Mamiya 6 system. When I take an exposure, the camera doesn’t let me use the advance lever to get to the next frame (red dot in viewfinder). After 30 seconds or so, red light goes off and I can advance. Any ideas?
Apologies for the late reply. If this were happening on a Leica I'd say make sure the lens cap is removed. If I recall the Mamiya 6 meters through the viewfinder but check the lens cap to make sure it's not metering for a long exposure. Also, have the batteries been replaced to rule them out? If all else fails, contact PCW at www.precisioncameraworks.com/mamiya. They'll get you sorted!
I have widelux F8, mine has some problem. the knob which locks the cameraback(film room cover) is not fixed but easely turned into "UNLOCK" while shooting. so, from time to time, the comeraback is accidently detached and filmroom is opened. I wanna know only mine has above problem or other F8 has same problem,and how I fix it?
I did not experience that with my F8. To be totally safe, you can use a small piece of gaffers tape on each side to hold the door down. There was one instance where I accidentally turned the unlock wheel when pulling it out of the camera, so I know how this feels! The tape should sort you until you can find a proper repair.
Any suggestions - suddenly my Mamiya 6 doesn't focus on infinity (i.e. I can't match the split prism on subjects that are 100-200 feet away, for example)
Hmm. I wouldn't be editing on that. That's really what a laptop is for. The 12.9" pro would be for reading or watching films. Maybe productivity tracking. I'm creative - make music, write, make a podcast - but I wouldn't use this for creativity. I really want one but it's pricey. I have a very old ipad mini1 ios 9 and I think I'm going to jailbreak it first and downgrade it to ios6 (apparently much better and faster than ios9) before I even consider getting a new ipad. The new ipad mini is a disgrace. They decreased the bezels but they also decreased the entire size. Now it's basically just a slightly larger phone. Feels pointless. I just wish this stuff wasn't so expensive.
Hey Rob, how fast can the nucleus rack focus with the Tilta focus handle? I'm looking at getting one to be able to use it for zooming to basically turn my lens into a servo-zoom lens, but it has to be fast.
This camera reminds me of an old LG cell phone that has a special panoramic feature, which is to take three different shots and assemble them to compose a panoramic picture. I used to play a lot with it. Once I asked a friend of mine to pose for each of the shots so she would appear three times in the same picture. And it worked. Some old cameras that do not lock the shutter if you don't wind the film also allow panoramic pictures such as the Argus C2/C3 and Matchmatic C2/C3. These cameras allow multiple exposures too. In fact, you may only find out you had a double exposure photo after the film was developed. They're rangefinder cameras, so you can focus and choose wider apertures and different speeds. They're almost indestructible, hence they're called bricks.
