Posted on November 08, 2015 at 08:56 AM
In the event you are searching for advice on using other brands of classic lenses with modern DSLRs, I would suggest that you simply check out the post on Vintage Manual Lenses for Video, where they cover using Canon lenses, Pentax, Olympus, Contax, and classic Nikkor of dslrvideoshooter.!
This issue could only be repaired with the utilization of a fundamental adapter, except that the flange focal distance of the lens (distance from the lens to the detector) would be wrong as the adapter would increase the focal distance, which will stop the lens from focusing right. !
Where adapters with optics come in, this really is. These adapters make use of the focal distance to be corrected by a part of glass so the lens will focus correctly. This enables you to make use of your classic Canon lenses to shoot on video on your own Canon DSLR.
These lenses will function better as the flange focal distance for Nikon lenses is somewhat longer than that for Canon lenses. This implies an adapter could be utilized to stretch the focal distance to the right span as well as to adjust to the various mount types - all without using optics to correct anything.!
Due to the fact, naturally, classic Nikon lenses are more sought after than classic Canon lenses are, so they are usually higher priced. Since there isn't any demand to correct the focal distance but if you're willing to pay more, you can get better image quality.!
Third party film lenses are the solution to really go for those who possess the cash. Keep these in mind for the future even in the event that you begin with classic Canon or Nikon lenses. They're a fraction of the price of authentic Canon film lenses (around $500 vs. $3000 and upwards), and they perform essentially only as well, as far as I 've seen.
Personally, I'm checking for Canon at the Rokinon brand of Film lenses. I'm looking especially their DS line, which keeps the same size as well as shape to all the various lenses so they could be interchanged. It's possible for you to see an example of one below. !
I was able to assist you by giving you some helpful info on using classic Canon lenses for shooting at video that is DSLR. For those who have some questions, don't hesitate to ask me in the opinions below, and I'll do my best to answer them!
Posted on May 20, 2015 at 10:57 PM
I'm a beginner to After Effects and with a large cartoon job coming up, I sat down the other day to begin and find my way round the software. I am fairly comfortable with a number of other Adobe applications in addition to other animation software, so I figured that after a few tutorials this one would not present me with many issues. Sadly, straight away I ran into a huge dilemma that I could not locate any help for on-line, mainly because I 'd no idea what the origin of the trouble was so I did not understand what to seek for.
I imported a few JPEG and PSD files, and when I went to use them in cartoons the PSD files would vanish within the very first frame or two. as soon as I assessed the composition settings, sure enough, the Beginning Timecode read 0, as well as the Duration read 2 frames. I altered it and saved it, and it still went back to 2 frameworks. I attempted enlarging the frame bar, resetting my presets, re-uploading the media, clicking every button accessible and hunting through menus to enlarge the amount of frames I really could use. It simply did not make sense. After closing, launch and restarting Adobe After Effects and still having the same problem, I was almost prepared to give up.
It was not until I made one last attempt at re-saving the PSD file with another name, (which was chicken3.PSD), when I understood what was causing the issue. The brand new file with "3" in the name was now causing After Effects to restrict it to 3 frames within the composition. The exact same thing was occurring with my preceding files, named chicken1.PSD and chicken2.PSD, which I subsequently understood were being restricted to one and two frames, respectively.
It turns out that After Effects was interpreting each imported item using a number in the name as a portion of an image sequence. It'd appear in the exact same folder for some other pictures finishing in numbers, or so the reality that I 'd three PSD files labeled Chicken1.PSD, Chicken2.PSD, and Chicken3.PSD all in the exact same folder was creating an image sequence. I am still unsure why After Effects would give a file labeled "1" just 1 frame, "2" only 2 frames, etc., as part of an image sequence- but it does. !
A simple fix would be to uncheck the "Picture Sequence" checkbox in the import dialog when importing numbered PSD files, and another simple fix would be to just not contain numbers in the names. There's also a setting that enables you to command the default duration of your imported still footage files under Edit < Preferences < Import. !
Posted on November 05, 2014 at 07:37 AM
Art and Craft is a brand new documentary out by Sam Cullman, Jennifer Grausman and Mark Becker that investigates the convoluted world of Mark Landis, an notorious art forger. With postproduction financed through a Kickstarter effort that raised $65,845, the movie is now showing in festivals around the world to rave reviews. !
The movie shows an extremely captivating look into the life of Mark Landis whose special calling crosses thirty years. With a drive to create for philanthropic motives not financial, which is why he's never been prosecuted, his masterful abilities in duplicating masters including Matisse, Picasso, Walt Disney, and Paul Signac have fooled multiple associations that have accepted his gifts across America. Aside from the dialogue the movie brings up as to every museum's obligation for due diligence and Landis' own despondent mental state, an intriguing issue it presents is: should counterfeited artwork still be considered bona fide artwork?
After all, the brand new fad today in the art world will be to show counterfeited artwork in the circumstance of its own counterfeit as it presents an educational opportunity as well as a unique approach to interact with audience. This kind of example is the landmark exhibit "Intent to Deceive: Fakes and Forgeries in the Art World" that opened at the Michele and Donald D'Amour Museum of Fine Arts in Springfield, Massachusetts this past January and is now touring. Featuring well-known forgers Han van Meegeren, Elmyr de Hory, Eric Hebborn, John Myatt and Mark Landis, it analyzes how they used artful methodology to deceive the pros as well as the art world. Landis himself even received an exhibit, Faux Actual in 2012 with his works marked "In the design of..." which one could claim is proper given that his name was recorded as the artist instead of his customary prohibited procedure. However one could also claim that showing such things in a museum or gallery placing just supports individuals to create them.
At exactly the same time, what's an artist to do when their works aren't taken seriously but they've a present? That's really what drives most forgers, the rejection of their particular artwork. There's a demand to still create, so they create the things that they understand folks desire. This unfortunately has effects on the art world as arty vigor get set elsewhere instead of developing exceptional gift. The art world is a tough one, with the majority of artists just becoming well-known after their departures, so what's one to do? Well in Landis' instance become one of the greatest artwork forgers in the world, but the effects on the bona fide artwork, associations, and marketplace is fatal.
By inundating the market with forgeries, the marketplace basically expires because collectors don't buy as well as the inflow drives the cost down making that specific artist useless. For the artwork itself, having forgeries of precise works means the credibility of the original is in question if it's in a private collection or the place is unknown. For associations specifically, buying forgeries and having them in the group decreases their reputation and affects the group negatively. So forgeries do no good and cause an extensive array of damage, nevertheless they exist and must be dealt with which is why always bringing the problem to light, though touchy, is much desired. If we always address the problem, discuss it and present it in educational manner then individuals will learn, be better educated, and amenable to coping with it in new ways, which is what the art world wants. !