Cinevate Brevis MP.2 EX1 fix in field

[CWMA]

Over the past several years, I have been using DOF adapters from Redrock, P+S Technik, Letus and Cinevate. Obviously, all are different having strengths and weaknesses. I use both still lenses and cine lenses. After shooting countless hours on the above mentioned adapters, I found myself almost exclusively using the Cinevate Brevis adapter on the Sony EX-1...

Many of you may or may not know that there has been a noticeable edge softness to the Brevis image when attached to the Sony EX-1. I have worked around this problem for awhile now, because my clients and I find the images to be fantastic...light loss is at a minimum and the unit can be taken apart in the field. I spend a lot of time on documentaries in remote locations, so it is important to have the ability to adjust and fix issues on my own. When comparing the Brevis image quality... bokeh and customer service to other adapters, I am very satisfied with Cinevate. I would really enjoy hearing from others that have spent years shooting and comparing DOF adapters, using both still and Cine lenses. Please respond in detail to this thread with Sony EX1/EX3 Brevis experiences. This should help our DOF adapter engineers continue to improve on their products. Note that many of us are interested and have experimented with DSLR HD cameras, but most shoots require efficient/fast multiple setup days with professional audio. So far, I have not been satisfied with the ergonomics, audio controls and workflow...just doesn't fit in my world, yet. I have alos had some tough times with the RED...another topic for later discussion. So, I definitely have a need for 35mm DOF adapters. How many of you out there have an opinion on this topic?

Recently, Dennis Wood of Cinevate created a prototype fix to the edge softness issue. It definitely cleaned up the edges, but a new problem arose...the new glass element fixing the edge does not vibrate....every dust speck becomes apparent in the image. Speaking directly with Dennis, he has decided to make a new metal housing with tacky inner surface and sealed couplings. The current carbon fiber housing is lightweight, but the nature of carbon fiber leads to a charged surface bringing more dust into the internal surfaces of the unit. Dennis also has other ideas he will implement into this new adapter. I will put this new Brevis to the test in April, shooting the on-going TNT Dramatic Difference tv spots. I will post examples of spots and documentaries in the near future.

Let's hear some ideas, experiences and comments.
Curt W.

 

[Huy Vu]

It's interesting that you're posing this question now, because I think that we're approaching the end of the adapter era. The last new adapter, the Redrock Encore, was released over a year ago and there haven't been any major updates from any of the manufacturers since. I personally don't think at this point that any development is being made for adapters anymore, at least nothing that would really change the game. Interests in adapters have really wane and DSLR are the new thing now. At this point the only thing you can improve on is the price, and I don't think it can be done at a price point where you can compete with DSLR. I own a Letus and I love it, but I do recognize that the day is coming, and soon, when they'll no longer be needed.

 

[CWMA]

Like I said, at this time SLR HD options have not been feasible in my tests. I have also not found a camera, such as the RED, that is feasible in heavy remote documentary work. My crew and I can work very quick, producing high quality images and sound with an EX1/EX3 type of HD video camera combined with DOF adapters. As a DP and camera op., it is very important to have quick changeable camera controls (timecode, HDSDI Out, etc.) as well as being able to take off the DOF adapter for non-prime lens b-roll work with efficient fluid zoom and aperture control. I also find it necessary to have a comfortable HD eyepiece (EX3). I am sure the day will come that we see larger format imagers together with and ergonomic camera and clean/simple workflow. For now, I would rather stick to what I know will give my clients consistent efficient shooting combined with quality images and audio...as another note, we sometimes have to use our EX cameras for live shots as well...can't really do with SLR's. Others have their preferences, so let's hear from all that have to shoot HD in a variety of productions. I also would like to hear from other Brevis, Letus, etc. owners using EX1's and EX3's...I am sure there are still many of you out there.

 

[Huy Vu]

I'm not exactly sure what it is that you're looking for. Are you looking to change adapters? Or suggesting possible upgrades to the manufacturers? With regard to the EX1 every adapters out there have an "upgraded" achromat designed specifically for it, including the Brevis. I think the upgrade cycle for adapters have pretty much ended and I doubt you'll be seeing any new improvement in the future.

 

[Dennis Wood]

Huy, we're not using a stronger achromat which is the case 100% of the time where an EX1 "fix" has been spec'd. The Brevis EX1 fix uses an internal corrective optic that properly addresses the spherical aberration. An achromat cannot physically address this...it can only put the camera into a different zoom range (by increasing strength) where the issue may be less obvious.

Curt has prompted the discussion (as a shooter working at the upper end of the profession) of how many folks are still using the Brevis MP.2 in production. Similarly, Cinevate is very interested in your feedback as we attempt to figure out if it's worth going forward with the modular update. A lot of folks are still using our adapter, and we're still sending out a surprising number of new MP.2 units.

Cheers,
Dennis.