indierider
New member
I plan on putting some amazing glass on this baby and I would love to use a Filmstock ASA setting on the camera and light through the lense viaa reflex eyepiece. I would measure light with light meters and spot meters instead of waveforms and an monitorsand no more having to run back and forth to the monitor. like the old days. Lets lose the necessity for a 20 inch monitor on set next to the camera. I love the flip out monitor on the camera and plan on using it but you will still always need to be under some duvateen or building a hood for it for viewing in bright places, is it tilted perfectly towards you?. And if your outside the monitor is pretty much useless unless you have the grips following you around with flags all day. What a waste of manpower.
I work in indie film New York and we shoot in real locations, not studios with breakaway walls. Most of the time in a tiny little apartment. It was hard enough to light these dark spaces and get a S16 camera, lighting and crew in the room. Now we also have to get a 20 inch monitor in there aswell. As the gaffer I'm constantly climbing over people, asking the makeup artist to move and squeezing in next to the director who is sitting on an apple box eating a sandwich and talking on his cell phone. Mean while the DP is sitting on his dolly sending emails from his phone and all I want to do is see if that Tweenie on the otherside of the set needs a single or a double. If I could just peek into the eyepiece and know what you see is what you get like 35mm... now that would be dope! Your camera is designed for film PL mount lenses its got crazy latitude it should be possible. The new lenses are so amazing and sharp it would be great take advantage of that during shooting. There are no variables of if the monitor is set up right or we don't have a down converter if its washed out because your shooting outside. Make it so the way it looks throught lense and calibrated to our light meters is the way it will look. I think that this will really save producers more money the amount of time and energy and space that goes into having a monitor on set is riduculous. Keep Video Village off set. Please Ted help us.
I work in indie film New York and we shoot in real locations, not studios with breakaway walls. Most of the time in a tiny little apartment. It was hard enough to light these dark spaces and get a S16 camera, lighting and crew in the room. Now we also have to get a 20 inch monitor in there aswell. As the gaffer I'm constantly climbing over people, asking the makeup artist to move and squeezing in next to the director who is sitting on an apple box eating a sandwich and talking on his cell phone. Mean while the DP is sitting on his dolly sending emails from his phone and all I want to do is see if that Tweenie on the otherside of the set needs a single or a double. If I could just peek into the eyepiece and know what you see is what you get like 35mm... now that would be dope! Your camera is designed for film PL mount lenses its got crazy latitude it should be possible. The new lenses are so amazing and sharp it would be great take advantage of that during shooting. There are no variables of if the monitor is set up right or we don't have a down converter if its washed out because your shooting outside. Make it so the way it looks throught lense and calibrated to our light meters is the way it will look. I think that this will really save producers more money the amount of time and energy and space that goes into having a monitor on set is riduculous. Keep Video Village off set. Please Ted help us.