1st Ultimate / EX 1 Job Part 1

T

Tim Naylor

Veteran
Put both together last night with Zacuto rod system. Subrented a chosziel (again) as one day a stork may drop my RR mbox down the chimney. Dialed everything in last night and did my first gig with them this morning.

They make a wonderful team. Sharpest pro-sumer with the sharpest adaptor. First thing that wowed me when setting up the Ultimate was the back focus function. With the EX1's colored peaking and the Ultimate's back focus ring, getting this dialed in was a breese. Letus was also thoughtful enough to include a real manuel. Yes, it's true. A bonafide hard copy that fits nicely into my camera bag - with a Siemen's chart on the back page. Bold and long overdue move.

Had a few minor hardware issues that Hien is taking care of asap, mainly concerning the fit of the rod / bracket. At full extension, my Chrosiel still couldn't get dead center. The Chrosziel is at a standard height and the centering was off by 1/4". Not a big deal with a 17mm, but a 14mm may run into vignetting issues. Hien is working on a fix.

Other big deals about the Ultimate. The image is stoopid sharp! Haven't seen anything like it. Smart move to use a belt drive for the GG platter as not only does this help isolate superflous vibrations but makes replacement a breeze too. Optically it gets rid of the pulsing that's endemic with other spinners. It's also mounted on two ball bearings not one. This maintains a true right angle. My previous spinner went back to the shop twice because it would lose true and induce the wobbles. Not pretty as it eventually goes so out of wack that it lead to complete platter failure. It couldn't safely say it wouldn't fail inside of a week. Too nerve wracking.

The RPM indicator is quite welcome. At the end of seven hours it said low battery. Nice touch. Comes with a D mount power option - which I hope implies a relay lets down the road for 3/4" cameras.

Back to the picture. With the EX1's monitor, I didn't feel the need to lug around an onboard monitor. Granted it would be better but this was a a three man crew doc /PSA project where we had to trek the length of Manhattan getting beauty shot after beauty shot. I'll have images from the project up in about three weeks after the PSA is released. Until then just take my word as best you can.

Is the Ultimate worth 4500.00? I'm leaning towards yes, but this is just day one. By the end of this project on monday, I go to New Orleans to use it on another film. By then I'll know how well it performs in the beauty B Roll realm. Then I'll be shooting a short that'll cue me into it's narrative virtues. As Beauty B Roll is not focus que heavy, I've yet to see how the whole lens mount / back focus system holds up to the focus heavy/ hand held demanding world of fiction.

The bokeh with the Nikon glass I'm using is quite gorgeous. It's a nice balance in terms of preserving light sensitivity. We stole some shots shooting into Tiffany's at 2.8, -3db and still got a full signal. It's a world sharper than my LEX and I loved the way that looked. It's bokeh isn't quite like my SG's but the build, sharpness, and lack of grain and artifacts are in a class by itself. I'd compare it directly to the PS technik. No edge to edge issues. It's workmanship is good but not quite up to to PS standards - but what do you expect at 1/4 of the price. I'd put the optical quality in the same league though.

I'd like to see all the adaptor makers really put some money and machining into the rod mount bracket. This can't be flimsy in any shape or form. This is the piece of gear that protects adaptor and camera from the everyday g forces and knocks a camera system endures through out a production day. It should be a heavy duty ring encircling the entire adaptor like a high quality lens support you see on cine lenses. Not that I'm careless with gear but we swing cameras around all day long. I never worry about the mount on an ENG camera or an Arri. But I do worry about the security of the way most 35mm adaptors attach to a camera. A heavy duty circular mount with complete vertical adjustment and well machined 15 or 19mm holes/locks, is the minimum. For God sakes people are hanging 2-3lbs zooms on these things. The thread of the camera, set screws and 1/4 inch screw through the bracket to adaptor isn't enough. Right now, rod brackets seem like afterthoughts when they should be the root of you lens mount rigidity. Without a bracket on, despite how good your PL mount is, the system becomes too rickety for focus and you run the risk of shearing the adaptor off your camera should it take a knock. So the lens mount chain really starts at the bracket and like any chain, it's as strong as the weakest link.

The Ulimate's bracket is the most solid I've seen from the low cost adaptors but it's still not enough. If there were a place to overbuild it's the hardware that secures the adptor to rods.

So that's Day 1 it the Ultimate.

Oh, how'd I dig the EX1? Love it. CMOS artifacts were not a factor - yet. Color palette is a little thinner than my HVX but overall I like it better so far for what I'm doing on this job. The monitor and speed/shutter options blow away the HVX as well as the lens. However, this is all Phil Bloom style stuff so I haven't tested the narrative / hand held. So I've yet to see the ugly side of CMOS, unless I try to force the issue (panning back and forth against a picket fence, etc). What I don't like is that the monitor cannot flip to a right angle of the camera axis (the AC's position). Now the AC and I have to cozy up as with the HVX I can use the eyepiece and the AC could stand off to the side with the monitor positioned looking off camera axis. Very convenient.

Will I sell the HVX and go EX1? Will know in a week's time.

Tim Naylor - DP
www.timnaylor.com
 
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Good review Tim, keep the log going. Also, if you can mention a few details about the workflow, that would be appreciated. is it identical to the P2 workflow?, etc.

Also, any reason you decided on an EX-1 opposed to the EX-3?
 
Yes, thank you Tim! I've had my Ultimate for a week, but have only mounted it onto an ENG zoom lens for a 2/3" camera--less than optimal physically or image
wise(vignetting, CA, lack of sharpness across the field). Really need that B4 Relay!

I agree about the mounting bracket, even with a 2/3" camera. I was getting vertical deflection from the torque of my Zacuto FF and had to really tighten the
the lens mount. Every single Philips and Allen head was loose when I received
the Ultimate.

I will test with an HVX200A as soon as my V2 Rods arrive as well as an EX-1 when I visit Lenny Levy the following week, hopefully.

I look forward to reading about your further experiences with the Ultimate. My only previous DOF adapter experience with the P+S Pro35, so I'm not totally excited by the Ultimate in build quality, but the ability to stop way down and not
see GG is fantastic. I had to shave the D-Tap connector in order for it to fit into
an IDX V-Mount plate. Really would like to see a DC cable that goes to the lens
connector, will have to build it myself most likely.
 
I'll be giving a detailed part 2 report in a week's time. So far my Client is ecstatic about the imagery from the EX1/Ultimate Combo.

The EX 1 is quite amazing. I find it's histogram, once you think of it as a sideways waveform is quite reliable. I only wish they just did a waveform as it's not more complex than their histogram. Also, I still can't figure out where the "All Clear" button for the LCD is. Too much information on the LCD. It gives me a head ache. I'm from a film background and all I like to see is timecode. And even that bugs the crap out of me. All these video camera makers get into a display pissing match and really should have an external "clear the deck" button. Then when I need to see all the other settings, I like to press one button and it all comes up, and press it again and it all disappears. Where is it? A little help anyone?

Back to the Ultimate:
I run it at 99 all the time as I was told this is the best. So the question begs, why even have the option to ramp from 0 to 99. Just leave it at the best - 99. If it's to save on AA's let's put this in perspective. Anyone who can dish 4500 on adaptor isn't trying to scimp on AA's. Or maybe they are after blowing 4500.00. So I leave mine at 99 and the batts last about 5 hours a pop.

When it does run low, the low batt light flashes which is nice. With the SG or Lex who knows what low batt is. The low battery indicator on those is a grainy image.

I do believe the machining can and will be improved. I've been on the phone with Hien to discuss improvements and he's quite amenable. What's really amazing is that I can actually speak to him. I just dialed the customer service and got the Wizard himself. Last time that happened was in the 70's or early 80's.

So far the option that I find indispensable is the back focus. It's a bit sticky and the torque isn't the smooth B mount back focus many of us from 2/3" land are accustomed to but it does work.

And it works exceedingly well with the Blue, Red or White peaking on the EX1's LCD. I've been shootiing this project primarily without an external monitor. That's how reliable the EX1's monitor is for focus. Now I got burned a few times, such as missing reflections in my filters or a bit a vignetting here and there, things I'd catch in a large monitor. But the mobility of not having to bring an onboard more than makes up for it. The monitor is probably the deal breaker for me in terms of waiting on the HPX 170. As Panny has made no indication of improving the monitor that means I still will have to lug an onboard with a Panny. And for hand held or run and gun, that just bites donkey balls. Jan can you hear me?

Regarding workflow, the SxS is a big improvement in terms of time and convenience. As we travel from one location to another, the director pops these directly into the Express 34 slots and by the time we arrive we're looking at footage. With P2 the download time is more suited for rush hour traffic. He paid 489 for a 16 gig card that gives him almost double 720PN in DVC Pro.

I must admit though the colors are a tad thinner than the HVX but the overall image for me blows it away in terms of sharpness and noise. I feel its lens is a big improvement as well for CA and contrast. I haven't had a "break the codec" situation. Hopefully I find a guy doing jumping jacks in plaid, with fog and a picket fence. Until then, it's held up to the human and vehicular traffic of New York City. Noise so far has been a non issue. However, once you raise the gain, you do like most camera lose highlight lattiitude. Which brings me to a sore subject. I do feel the EX does not exceed the HVX's highlight range. Unless there's a magic setting I don't know about, I actually think it's lower. But this would take a real A/B test to verify. No time for that yet. But I'm not thrilled with its beyond 100 IRE renditions. Granted that sucks in most video but some are less sucky than others. Forgive the junior high jargon but in short, I've been saved by grad and polarizing filters on just about every other shot. An absolute must for the EX1 (any video, I mean digital camera for that matter).

If you like to invest in futures consider, the Convergent Design Intra Frame codecs option around the corner. That will really ups the stakes. Yeah it's a few G more but so are a few more P2 cards. Also CD's value only gets better as flash card memory drops. It's not like you can replace the memory in a P2 card.

So in terms of Ultimate to EX1 compatibility, it's a great match but could be better. The EX1' back focus on the Ultimate is hair away from the end of the EX1's focus range. Sometimes I began to wonder if I could get optimum focus on the GG. It wasn't until several attempts with peaking on that I could see the range on either side of optimum focus. Maybe a space ring would resolve this.

On the good side, I only had to zoom into just shy of 40. This allows me iris to open to 1.9! How cool is that. So you definitely gain some light advantages over an HVX by another 1/3 a stop or so.

Anymore later. It looks like I'll have footage to post in two weeks. Client is really cool about getting me goods for the reel.

TIm Naylor
 
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Tim,

The display button right on top of the camera is a "Clear All", and the display is just a clean picture.
 
The Canon HDV cameras handle highlights above 100 IRE much better than the HVX or EX1. I forget where I saw a back to back example but it was impressive.


Marco
 
Based on what I've seen out of the camera in the past few weeks, I'd think it would be REALLY hard to beat. Especially with the gamma control. I've got some footage from the past two days with details in 112-114 IRE footage. That's pretty hard to top.
 
Tim what is the rod bracket this thingie from the Letus website ? http://www.letusdirect.com/cart/images/D/ultimate-support-bracket.jpg

As a better alternative doesn't Zacuto make a better suport for the adapters with it's Z-riser and the letus rod support bracket ? That's for the Extreme i guess but maybe they'll make one for the Ultimate too.

What do you mean with " The EX1' back focus on the Ultimate is hair away from the end of the EX1's focus range " The focus ring on the Ex1 was close to infinity to correctly bring the GG image in focus ?

I really want to purchase an Ultimate for my EX1 and your review brought my enthusiasm levels down a bit. I thought it would be flawless fit and performance.

PS. When you order the Ultimate you have the choice of selecting 2 mounts. I know it comes with the PL mount inclued right ? That means I don't have to put anything in the "additional lens mount" field ?

Thanks!
 
Patience. Can't get clips until it's released/broadcast. Get in big trouble if I released anything now. But they're on a tight deadline, so I should have something in a week or two.
 
PerroneFord said:
Based on what I've seen out of the camera in the past few weeks, I'd think it would be REALLY hard to beat. Especially with the gamma control. I've got some footage from the past two days with details in 112-114 IRE footage. That's pretty hard to top.
Click to expand...

I'll have to explore that more. It was only my first five days with the EX1. Not as much time to test as I would've like so I controlled my highlights with grads. Send me your widest lattitude settings for exterior work. I tend to shoot for as much range as possible so client can play in post.
 
Gogu said:
Tim what is the rod bracket this thingie from the Letus website ? http://www.letusdirect.com/cart/images/D/ultimate-support-bracket.jpg

As a better alternative doesn't Zacuto make a better suport for the adapters with it's Z-riser and the letus rod support bracket ? That's for the Extreme i guess but maybe they'll make one for the Ultimate too.

What do you mean with " The EX1' back focus on the Ultimate is hair away from the end of the EX1's focus range " The focus ring on the Ex1 was close to infinity to correctly bring the GG image in focus ?

I really want to purchase an Ultimate for my EX1 and your review brought my enthusiasm levels down a bit. I thought it would be flawless fit and performance.

PS. When you order the Ultimate you have the choice of selecting 2 mounts. I know it comes with the PL mount inclued right ? That means I don't have to put anything in the "additional lens mount" field ?

Thanks!
Click to expand...

re: fit/hardware

I use the Zacuto baseplate, rods, and z riser in the "snorkel down" position. Zacuto to my knowledge does not make a Letus to rods support. You absolutely need this. The Ultimate's version is more beefed up than the extremes. The fit issues I had were immediately remedied by Hien, as he sent me a longer piece. Now, I got a RRock MB so it's not even an issue with the old piece as I've go some vertical adjustment with it.

I have just received the Letus baseplate system. Will be fitting it over the weekend. Some very interesting design points it has that even Zacuto didn't think of. The mount to the tri-pod is separate from the mount to the camera. This is a big deal as it allows you to get the camera mounted further back on the rods and the tripod mount further up. What that means is you can balance the rig better. In the "snorkel up" position which I prefer, I need my monitor mounted to the backrods to balance it perfectly on my Miller Head (which has ample sliding of 2 inches). With the EX1, it's monitor is good enough to do run and gun/doc stuff without an on board monitor. But this throws the balance out of wack. I can balance it in Snorkel up because the rods don't bump into the head. But I don't like the high CG for tilts and hand held. The new Letus rail system, its separate tripod mount can slide up along the rails allowing for perfect balance without having to use external monitors or battery mounts. Very cool.

re: backfocus EX1

A hair away still means I was able to get perfect back focus. I used the blue focus to test it as well as peaking on the Pana 900. I could get it to defocus in either direction. I was just damn close to the end of one direction (I think it was close to infinity, not sure though). The amount of Zoom I needed was about 37mm before vignetting. Which is good. Not quite Vista Vision / Stills 35mm size but definitely wider than cine 35mm. So it's nice to be able to get extra wide.

The best part I liked about the Ultimate's clarity was that there were times when out of expedience and need for a longer focal length, I zoomed in all the way. I coudln't see a noticeable loss in clarity. Can't say the same for my Extreme as there is a noticeable difference between zoomed in all the way and widened out to the edges. This ability to zoom in without a noticeable resolution penalty came in handy on numerous occassions where my 200mm wasn't enough or didn't have time to change out to a longer lens. On my 24" I couldn't see any real difference. Blown up to film, who knows? But I can afford a blow up, I'm not shooting on an adaptor... but that's another thread.

I should also mention with still lenses, because of discrepancies in collimation, I found myself re backfocusing quite a bit. That's where the Ultimate's back focus ring really came in handy. It's quick. No tools or big hold ups while I quickly adjusted backfocus as where my other adaptors, back focus was always a big deal.

re: Flawless...

Flawless? Not sure if any such product exists. Where I feel the Ultimate is a deal is that it's clarity is on par with a 20 grand PS technik at 1/4 the price. I've always found the low cost adaptors somewhat disappointing in sharpness. I'd shoot on my Brevis, SG or LEX and be real excited. And then I'd look at projects I did on a PS and wonder, did I steer the client wrong as the sharpness was in entirely different leagues. The Ultimate closed the gap to the point where I don't have to explain to people (clients) why it doesn't look as sharp. Granted all adaptors lose rez but this one looses remarkably less. Resolution is always the item I find clients back off 35 adaptors. The Ultimate, especially in combination with the EX1, keeps things HD.

The other aspect, I haven't mentioned yet was that Hien / Letus were absolutely responsive to some of the fit issues I had and took care of it asap. I had a small amount of play on my mount assembly that I couldn't get rid of. Monday, they sent me a new front end with no play.

re: Mount

You have to select the additional mount. Nikon locking mount is what I selected. I've yet to test the PL mount.

I do recommend, however, should you buy the Ultimate, track down a good universal lens support bracket for large primes or zooms. When you look at a lens adaptor, you got three optical connections: camera to achromat housing to lens mount system to lens. The last thing I want is a lot of torque on that and throwing something out of alignment or worse snapping the system from a bad bump. I never put on cine zoom on a PS because the amount of bracketry is too time consuming and dicey. It can be done though.

I'd urge the adaptor makers to make a really rock solid two posted universal lens support. It would really let me sleep at night if I put on a full size zoom or cooke S4's.

re: Worth It?

Whether it's worth it or not depends on a few of questions. Will it generate more work to justify it? Will the increase in quality add that much more quality to your reel? Can you and your potential clients perceive the difference? I'm taking a gamble that it is worth it as it should squash many of the complaints I've gotten from the older adaptors, namely concerns about clarity as well as stop and shutter flexibility. The optics and backfocus in this are really at a level where you can see a noticeable difference from the older adaptors. I just have to inform, educate and sell it to people. If it gets me one or two more jobs than an LEX or an SG, it's paid for the increase. Anything beyond that is gravy. And then the last consideration is my own use for my own films. I need the sharpness. All the other low cost adaptors take an HD signal and reduce it to SD or lower. This doesn't.

But the only caveat is that though its image is on par with a 20 grand PS, it's build is not. It's good but not in the PS or Arri territory. There's a reason why they're so damn expensive. I believe to approach that level of build you'd have to double the price minimally. But they did put money in places where it really counts and ways that some may not fully comprehend. For example, the dual bearing spindle assembly is not cheap and having had to send back two out of aligned spinners back to another company, I can't afford that kind of shortcoming. The turnaround time for repair alone cost me three rentals. And to make matters worse the mothers)(*$&# charged me for the replacement part not considering it under warranty. This also gets rid of the "pulsing" effect (which lowers sharpness) from single bearing spinners.

Pricewise, it still keeps you well below the RED threshold. Word will get out that this is the sharpest of the lot and I believe you'll reap the rewards. It's not perfect, and I believe Hien is earnest in making updates as his responsive CS to me has proved. It's a weird market as its price definitely takes it out of the casual user/weekend warrior league and squarely onto the freelancer / indy professional league. So expectations in performance and build follow suit. There will be updates no doubt.

So you wait or adopt early? I jumped on early as I feel the long term life of 35mm adaptors may be two years at best. I feel the core of the adaptor is great and any updates would be marginal. Will it be outdone by the Blade? Well I can't say because the Blade isn't here. In the meantime, I have to be shooting and making a living with the best option out there. I've learned a harsh lesson with waiting for the RRMB. I should've just bought the best option available rather than lose time and money waiting and subrenting.

Tim
 
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A few other observations. The EX1 / Ultimate combo was a real excellent light saver compared to the HVX. With the HVX my camera's stop is just north of 2.5 as where the EX 1 with the adaptor can open 1.9 That plus the EX1's near full stop advantage gives me about a 1 1/2 stops over the HVX 200 and about 1 stop over the 200a. That has very practical implications in terms of energy, lights, and labour.
 
Thank you Tim awesome post.

"The fit issues I had were immediately remedied by Hien, as he sent me a longer piece" a longer piece of what ? I didn't understand this and what fitting problem you had.
Talking about fitting I'm very concerned about this as I don't live in the US and sending the adapter back and forth across the ocean for updates and upgrades is very time consuming.
So did you have any additional fitting issues working with it ? I'm going to use a Zacuto rig most likely.
Did the RR mattebox fit easily and allign with the lens properly ? Do you happen to know wether a Chrosziel matte ( the bigger ones with side movement) would fit into such a system without problems ?

I'll have 2 Nikons zooms that as you said will probably need an additional support (lens bracket) and I was thinking about this http://store.zacuto.com/product.php?productid=344&cat=84&page=1 . Is this close to what you have in mind when you talk about a lens bracket support ?

I also looked at the Zacuto baseplate and from what i'veread in their description it seems that it can too move independently from the tripod. It says 4.5" on the tripod and 4.5" on the plate. Or maybe i'm wrong dunno.

How do you know which cinema format you're in ? How do you test it ?

You're right I held once a PS (i think it was the little one) in my hand and it was like a tank ready to fire :thumbup: . Unfortunately the price is that of a tank too.
 
In the "snorkel" up position the Zacuto works fine in respect to balance. But in the down position, your 2nd set of rods where the Z riser is will limit your ability to use the camera as a counterbalance as it will bump into your tripod head well short of a balance position. The Letus Rod system has a tripod baseplate bracket that is completely independent of camera baseplate, meaning I can slide it the length of the rods. This is far more counterbalance adjustability. The problem with adpator rigs, especially with zooms is that they end up extremely front heavy.

Concerning the rod bracket fit, when my Letus rod bracket was full extended, my subrented Chrosziel came about a 1/4" shy of being centered vertically. Not a big deal unless I was using a 14mm or wider lens. Because the RRock MB has vertical adjustment it's no longer an issue at all. In short I needed to lower the second set of rods another 1/4" to center it on the Chrosziel, but I couldn't as the rod bracket extension at full extension wouldn't allow it to go any lower. If you go with a MB withh vertical adjustment or perhaps snorkel up, this shouldn't be a problem.

Now, I no longer the pressure of a job, I'll be trying to figure out the "Ultimate" configuration. My ideal is to have the "Snorkel" down with perfect balance without external accessories as ballast. This is not possible with Zacuto, but at first glance a possibility with Letus Rod system.

re: Zacuto lens mount. I like the design except I'm not sure of how much diameter adjustment it affords. If you cut the zip gears are you limited to the 1/4-app. 3/8" leeway afforded by the hardware? Otherwise, you'll need to swap zip gears for different lenses. Could be a hassle. Call Zacuto to find out. They pretty easy to get answers from. Cavision makes one with a sort of ratchet strap. Great idea, but from the products of theirs I've used, mattebox, handgrips and shoulder support, their workmanship is a bit sketchy from what I've seen. Ask around as I know some people on this forum have used one.

re: Cinema format.
A 50mm lens from 5 feet away should give you a width of 2'1" or 23.7 degrees. Line your EX five feet away and zoom in and out until it's 2 feet 1" wide and that's your cinema zoom.

For 35mm still Field of View a 50mm should be 35 degrees. A bit wider. Or 3'2" wide. To check out formats, FOV etc, go to:
http://www.panavision.co.nz/main/kbase/reference/calcFOVresult.asp
 
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On the note of Zacuto lens supports. I have both a Z-Mount II and a Q-Mount with both the Zupport and the threaded rod options. They work well. Indeed you do need to cut different Zip Gear Sizes for it to properly work. However, I've found that the Zupport with zip gears works better to hold the adapter itself. If you have a Letus, then support the Letus using the Lightweight Lens Support kit from them.

On the other hand... I prefer to use the Q-mount with the Zupport piece without the zip gears if I have a longer lens.
 
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Why do you prefer the Z-mount II for the longer lens ? The Q-mount looks sturdier as it locks on both the rods whereas the Z-mount locks just on one rod.
 
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