Digital Muse
Member
How about a Nikkor 50mm 1.4 lens? Wide-open, would that add maybe another 1/2 stop or so?
Brevis Flip Q & A
- Thread starter Digital Muse
- Start date
Dennis Wood
DVXuser Sponsor
A 50mm f1.4, wide open = 1 stop of light loss. Measuring light loss without a lens attached can be a bit tricky. For example, an EOS lens mount has 50% more "aperture" area than a Nikon mount. Measuring adapter loss with an EOS bare mount installed, vs. a Nikon bare mount installed would give different results. That's why we quote numbers with a 50mm f1.4 Canon FD lens attached 
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Dennis Wood
DVXuser Sponsor
No idea on the Letus, but our rig weighs out as follows:
Brevis with 72mm HD achromat, 50mm f1.4 = 760 grams
Above rig, but with retail version of flip module = ~1060 grams (1.06 kg)
Our rails systems are already set to work with the flip module, so support is a non-issue. Our 45cm rails system with the adjustable Brevis support comes in just under 1kg. The system allows full balancing on your tripod head so you're not fighting a forward or rearward weight bias.
Brevis with 72mm HD achromat, 50mm f1.4 = 760 grams
Above rig, but with retail version of flip module = ~1060 grams (1.06 kg)
Our rails systems are already set to work with the flip module, so support is a non-issue. Our 45cm rails system with the adjustable Brevis support comes in just under 1kg. The system allows full balancing on your tripod head so you're not fighting a forward or rearward weight bias.
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marketmd
Well-known member
Metric system? Are you some kind of Commie? What is the weight in normal American measures?
ecking
Veteran
He's a Canuck!
MalcolmOng
Veteran
Pounds...inches? Are you some kinda redneck? The british system is the best!
(said totally in jest in case i get banned)
(but seriously, i don't think the commies use the metric system)
Dennis Wood
DVXuser Sponsor
http://convert.french-property.co.uk/
The world of camera's is a wierd mix of standards where 15mm or 19mm is the standard for rails, filter threads are in mm, focal lengths in mm ... and yet the standard camera tripod plate uses 1/4" 20 threads. Go figure.
The world of camera's is a wierd mix of standards where 15mm or 19mm is the standard for rails, filter threads are in mm, focal lengths in mm ... and yet the standard camera tripod plate uses 1/4" 20 threads. Go figure.
Lenilenapi
Carbonite Member
Dennis,
Could you expand on the difference between the EOS lens mount and the Nikon?
They must aim for the same 35mm target size don't they?
Is one system more efficient with light? Do you get something different from a Canon 1.4 lens than a Nikon?
(And by the way - where are my little plastic diffuser cases - they never showed up!)
- Lenny Levy
Could you expand on the difference between the EOS lens mount and the Nikon?
They must aim for the same 35mm target size don't they?
Is one system more efficient with light? Do you get something different from a Canon 1.4 lens than a Nikon?
(And by the way - where are my little plastic diffuser cases - they never showed up!)
- Lenny Levy
Dennis Wood
DVXuser Sponsor
Ahh the cases....I'll have our shipper on it Monday.
All I'm referring to is the inner diameter differences between on EOS mount and a Nikon mount. When testing a bare adapter with no lens mounted, the 50% difference in area between EOS and Nikon does make a difference. Once you mount a 50mm f1.4 lens (regardless of make) there should be a reasonably consistent 1 stop loss regardless of the lens...keeping in mind that rear aperture openings do vary between manufacturers. We always quote total system loss with the Brevis ( at .5 to .7 stops) which includes a 50mm f1.4 lens used with wide open aperture. This value is compared to the bare cam at the same distance, lighting and framing.
To do otherwise completely ignores the decrease in usable aperture as a video camera is zoomed in to frame the GG. I believe this is why most folks find that light loss with a given system is often 1 or more stops than quoted.
We've got a thread over at the Cinevate FAQ that discusses light loss.
All I'm referring to is the inner diameter differences between on EOS mount and a Nikon mount. When testing a bare adapter with no lens mounted, the 50% difference in area between EOS and Nikon does make a difference. Once you mount a 50mm f1.4 lens (regardless of make) there should be a reasonably consistent 1 stop loss regardless of the lens...keeping in mind that rear aperture openings do vary between manufacturers. We always quote total system loss with the Brevis ( at .5 to .7 stops) which includes a 50mm f1.4 lens used with wide open aperture. This value is compared to the bare cam at the same distance, lighting and framing.
To do otherwise completely ignores the decrease in usable aperture as a video camera is zoomed in to frame the GG. I believe this is why most folks find that light loss with a given system is often 1 or more stops than quoted.
We've got a thread over at the Cinevate FAQ that discusses light loss.
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marketmd
Well-known member
Dennis, I must say that despite the debates about this adapter vs. that one, etc, that your tireless commentary and assistance in so many threads is very much appreciated by this member. You do great credit to your product and your company.
You are a class act.
(even if you are a Commie)
You are a class act.
(even if you are a Commie)
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Lenilenapi
Carbonite Member
I second the "class act" vote. Dannis has been tireless in explaining the ins, outs and quirks of these adapters to me personally and I appreciate very much. He's also been tireless in trying to perfect his own system and incorporate critical feedback from users. Lots of money has gone into R&D as well it seems.
Is Dennis a "commie"? Well if so its a compliment in my part of world- A bourgeois capitalist one - the best kind then.
Is Dennis a "commie"? Well if so its a compliment in my part of world- A bourgeois capitalist one - the best kind then.
Dennis Wood
DVXuser Sponsor
It's true, R&D has been a disportionately large budget allocation for us, but because the world of lens adapters has so many unexplored variables, it's still fun. Now I'll throw the thanks right back out there as it's our diverse (and very patient!) user base that tests like crazy with all kinds of cameras and provides very valuable data/feedback. The latest addition to the CINEFUSE line (more later) was developed specifically for users wanting better wide angle lens performance with slower primes, previously considered unusable on adapters On the commie thing, I believe Canadians are sometimes referred to as capitalists with a more socialist slant. Something to do with universal health care and the like.
K, with a 50mm lens attached, at f1.4, expect to lose about .7 to 1 stop with CF1L installed. In other words, 1/4 to 1/2 stop more than you'd be seing right now with a non-flipped Brevis. Light loss from the engineering version of the flip proved better than what we had modeled in design...and the retail enclosure shaves at least 20mm from the optical path.
I spent about 2 hours last night reviewing the work of Piotr Skowronski, a young local film maker who lives all of 1 block from me. As our first local customer (yep, it's true) and a very talented cinematoghrapher, I'm looking forward to expanding my own personal learning a lot more on the artistic side of things. Piotr and his crew just finished a week long commercial shoot with our cinema dolly under very tough conditions and his feedback already has the wheels turning on that front.
On the commie thing, I believe Canadians are sometimes referred to as capitalists with a more socialist slant. Something to do with universal health care and the like.K, with a 50mm lens attached, at f1.4, expect to lose about .7 to 1 stop with CF1L installed. In other words, 1/4 to 1/2 stop more than you'd be seing right now with a non-flipped Brevis. Light loss from the engineering version of the flip proved better than what we had modeled in design...and the retail enclosure shaves at least 20mm from the optical path.
I spent about 2 hours last night reviewing the work of Piotr Skowronski, a young local film maker who lives all of 1 block from me. As our first local customer (yep, it's true) and a very talented cinematoghrapher, I'm looking forward to expanding my own personal learning a lot more on the artistic side of things. Piotr and his crew just finished a week long commercial shoot with our cinema dolly under very tough conditions and his feedback already has the wheels turning on that front.
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