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Cp-16R, Filters, etc.


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#1 Timothy David Orme

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Posted 22 October 2006 - 08:48 PM

I have, for about the past year, slowly been putting together a CP-16R package I hope to be able to use for many different things. I'm not a cinematographer myself, I'm a director, so I'm more looking for help here to make sure I have everything I need when I hire a cinematographer.

Here's where I currently stand. I have the camera body, 2 magazines, a basic set of primes (Ultra T super speeds: 9mm, 12.5mm, 16mm, and 25mm), and a case.

The next items on the list are: a few batteries, a matte box, and filters. The batteries and mattebox aren't going to be too dificult, but I have a few question on filters. Namely, are there any other filters I need aside from what I have on my list: NDs, Polarizer, UV, FL? Also, I was wondering if there is a specific brand I should get (if one maybe prevents vignetting more than another). I was also wondering if certain filters work better on the matte box (4x4) or as screw ons, or what cinematographers generally prefer to have on hand.

Any help is always appreciated.
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#2 Timothy David Orme

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Posted 23 October 2006 - 02:49 PM

Nobody has any advice?
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#3 Mike Rizos

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Posted 23 October 2006 - 09:20 PM

Here's a discussion on filters.

http://www.cinematog...n...c=14906&hl=

Missing from your list are the color correction filters. And the CP accepts inexpensive behind the lens gelatin filters you can use for longer lenses.
I think you should get a few longer lenses or a zoom also. There is a Nikon and Arri adapter if you want to go that route. And a very long lens, like 300mm or more.
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#4 Timothy David Orme

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Posted 23 October 2006 - 09:29 PM

Hm...what's the advantag of getting a 300mm lens? I know they make one with a CP mount. I was also thinking about getting a 50mm, but I haven't decided on the zoom or not yet.
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#5 Mike Rizos

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Posted 23 October 2006 - 09:38 PM

Just something to give you extreme compression. This picture iin the link is only possible with a very long lens:

http://www.digitalfi...de.com/blog/370

I was thinking the zoom would be in lieu of 35,50,75,100.
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#6 Timothy David Orme

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Posted 23 October 2006 - 09:58 PM

Just something to give you extreme compression. This picture iin the link is only possible with a very long lens:

http://www.digitalfi...de.com/blog/370

I was thinking the zoom would be in lieu of 35,50,75,100.


You know, I've been debating whether or not I should get a 50mm or a 15-150 Ang. zoom for a while now and I think I've kind of decided I don't really need a zoom much anyways, so a 50mm would be better. The 300mm might be a fun idea though, also.

You know, one thing I've been curious about is filter size. Not all these lenses are the same and I was wondering how it affeects the filters to go up or down with an adapter ring. Is this a bad idea? Is it better to go one way than the other?
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#7 Mike Rizos

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Posted 23 October 2006 - 10:10 PM

Get the largest size you anticipate on using. Then you can step down as needed.
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#8 Sean Charlesworth

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Posted 24 October 2006 - 08:50 AM

Some suggestions:

chip charts (color seperation and grayscale charts)
changing bag
light meter - DP should have one but if you want a complete package...
Filters: ND6, ND9, polarizer, 85, Clear filter for each lens to protect it.
If you have extra cash: ND3, 80A, Haze, lo con, diffusion, 85ND6, 85ND9
slate
tripod
baby legs or hi-hat

A matte box with 4x4 filters would be ideal but more expensive than screw on filters. Many matte boxes will take 3x3 or 4x4, so you could buy 3x3 to save a buck but when you rent filters it will be 4x4 since 3x3 is impossible to find. If you go that route make sure box takes both.

As Mike said, if going with screw on/clamp on filters, pick the size needed for largest diameter lens and then get step down rings to fit other lenses. You may need to use a clamp on filter holder if some lenses aren't threaded in front. I usually buy Tiffen, but there are others out there.
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#9 chuck colburn

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Posted 31 October 2006 - 04:19 PM

I have, for about the past year, slowly been putting together a CP-16R package I hope to be able to use for many different things. I'm not a cinematographer myself, I'm a director, so I'm more looking for help here to make sure I have everything I need when I hire a cinematographer.

Here's where I currently stand. I have the camera body, 2 magazines, a basic set of primes (Ultra T super speeds: 9mm, 12.5mm, 16mm, and 25mm), and a case.

The next items on the list are: a few batteries, a matte box, and filters. The batteries and mattebox aren't going to be too dificult, but I have a few question on filters. Namely, are there any other filters I need aside from what I have on my list: NDs, Polarizer, UV, FL? Also, I was wondering if there is a specific brand I should get (if one maybe prevents vignetting more than another). I was also wondering if certain filters work better on the matte box (4x4) or as screw ons, or what cinematographers generally prefer to have on hand.

Any help is always appreciated.


Timothy,

If you are going to use gelatin filters behind the lenses then you are going to have to always keep one in there even if it's just a 1A or a clear. The reason is that the gel is going to increase flanged focal depth optically by one third the thickness of the gel, (appx. .0025) and this is way to much of an error with speed lenses espically the wider angles talk to a lens service tech. and he/she will advise you on the best course of action.

Chuck Colburn
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#10 Leo Anthony Vale

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Posted 01 November 2006 - 03:49 PM

If you are going to use gelatin filters behind the lenses then you are going to have to always keep one in there even if it's just a 1A or a clear. The reason is that the gel is going to increase flanged focal depth optically by one third the thickness of the gel, (appx. .0025) and this is way to much of an error with speed lenses espically the wider angles talk to a lens service tech. and he/she will advise you on the best course of action.


As M.R. suggested use the behind the lens filter with the long lenses.
Longer lense have greater depth of focus, behind of lens on film plane, than wides so the shift won't be critical.
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rebotnix Technologies

Glidecam

Aerial Filmworks

FJS International, LLC

Abel Cine

Technodolly

Visual Products

Paralinx LLC

Metropolis Post

Willys Widgets

Rig Wheels Passport

Opal

CineLab

Tai Audio