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Friday, December 27, 2013

A Great Life Released Today

Today I'm pleased to announce the official release of my short film "A Great Life". It captures some truly honest intimate moments as a couple deals with one of life's greatest moments. The people who've had a sneak peak at it have been pretty amazed at what's been captured here. Don't miss it !

Also a very HUGE thank you to Michael Denk and Kathy Beringer who starred in it and gave life to roles that were not easy to do...they are amazing.

This shoot is perhaps testament that if you have a good script, great actors, a location and a crew of 2, you can make something good in... one day ! Oh it was a 16 or 17 hr day but it was an easy one. We took our time, had breaks, planned stuff out, ate well, laughed a lot and no one killed themselves. Thats the way it should work. It was a huge help to run rehersals. I can't say how much that let myself and the actors refine and work out better dialog and flow across the scenes. The fun part is we did just improv 2 or 3 scenes thanks to this rehearsal. 

For those who want to know it was the first real shoot I did with my new C100. I'd decided pretty early on that my dslr's weren't up to what I wanted. The C100 pretty much blew me away with how much better a camera it is than what I'd been shooting with.  My lense choices where often the Rokinon Cine 35, OM 50 1.4, Kiron 24 2.0 and Tamron 70-200 2.8. The Rokinon Cine 14mm was also used for a bunch of shots like the car interiors. It was a mix of new and vintage glass.

There are also some shots from one of my 60D's in there too. I had planned on having 2 cameras but that didn't work out at the last minute. Perhaps the hardest part was color matching those 60D shots in to the C100 shots. I think I did pretty well but you can probably guess which shots where done on the 60D - they just tended to lack the sharpness and detail of the C100. I also find the 60D just doesn't have the range of color that the C100 makes even when talking about 8bit codecs.

Sound was handled by Josiah Winterhoff. Most of the interiors were boomed with a CMC-64. I did pull out a Sanken COS-11D lav on a couple of shots and 2 for the car interiors. One one exterior shot we used a Rycote S with Sanken CS3e which worked great in the wind and rain. We recorded both to camera and SD 552 mixer. I used most of the sound from the 552 as I though it was a tiny bit cleaner but camera recorded audio was also used and was perfectly good. Overall sound was really simple and clean on this shoot which is the way its supposed to work. 

Much of the lighting was done with a mix of LED lights. I used the custom ones I have and a couple of cheaper 5.6K panel lights. On several shots I had the 5.6K panel lights working outside in the rain. I just put clear plastic bags over them, tape the bag and was good. If I'd run with HMI's it would of been far more of a pain to tent them out and keep them safe. In fact in one nite shot I had one of the panel lights on maybe 1/2 power but it made the outside trees look too bright and in post I took those areas down. The amazing light sensitivity of the C100 let me work at much lower light levels than I could with other cameras or film. I think this was probably the key factor in even being able to pull this shoot off. When you aren't messing with big lights, big power draw, lots of cables and all the other things that go with old tech cameras you can really free yourself to work better. I mean with more takes, or thinking your shots through better, and even making it easier for your actors to do their thing because you can spend more time with them developing the scene.

I think one of the most important things that happened was in lighting the last scene. I started rigging up a couple of lights and didn't like the color temp mix between the lights and the outside light. I didn't like the levels I was getting. Instead I shut off all the lights and looked at the natural light that was nearly perfect. However the C100 wasn't initially happy with the light level. Instead I bumped up the ISO to 2000 and suddenly I was in the ball park. I added a dimmed LED into the background to open up an area, and there was another panel light bouncing on 1/4 power in the scene but that was it. I was using maybe 60W of total lighting ! If I'd had a lessor camera I would of been silks, 1200's, ect.. That wasn't gonna happen with a crew of 2 in the rain. 

The light I got was natural. There are times when you might think its available light, but its not. An example is the ktichen scene that looks like natural light. However the lights in the room gave me very overhead and less flattering light. Instead I bounced in 1 LED with foamcore, dimmed it to like 1/4 power and got a more natural side lit look. 

Editing was pretty straight forwards in Premiere Pro CC. I also did all the audio mixing there as well. It all just rather boringly worked without any drama. I did use ClipWrap to process the MXF files from the C100 into individual QT mov's. I also sync'd all the 552 48K 24bit WAV files to the camera shots using the automatic sync function in Prem Pro. No major or minor technical problems in any of this.

There are surprisingly a couple of VFX shots here. Some of it was just enhancing what the camera gave me, or simply combining 2 parts of the same take in the frame because of how the actors reactions worked out. I also wanted a more isolated feel for the location so there are spots where I painted out a nearby house. All pretty small stuff that just added up to a cleaner project.

Grading was done in DaVinci Resolve. I worked with the original C log shots and gave them a base grade. I passed on using a LUT because I didn't find one that gave me a usable starting point. C Log really doesn't need a lot of adjustment to look good if your shooting on the money. While editing I was tempted to not even touch most of the images as the C log has a nice flat film like appearance. However I'm glad I did go and grade this. It brought more out in the end. Most of the grading was pretty simple and straight forwards. In a few shots I shaped and changed the lighting in mostly subtle enhancing ways. There is one shot where I did somewhat relight it. It just came down to not having the time to really light it that way and I knew it was a pretty easy fix in grading where I did have time. Knowing when fix it in post is not just viable and pretty easy, but also appropriate to keep production moving along is important. Its something that comes from experience in both shooting, editing and grading.

So thats a lot of info, but feel free to ask questions, let me know what you think, and please do go ahead and share around the web !

Sunday, December 22, 2013

My LED LIghts - Not Your Cheap eBay Specials

I've been talking about these lights for a while and using them on jobs, getting to know them. Above I'm mixing in the quad 48 LED emitter with an HMI while using a dual 24 emitter as a back light. How can you use an LED light as a back light from 10 feet away ? well because these lights actually are focused and throw the light a pretty decent distance. They aren't like the common panel light with simple wide angle LED's of various grades of quality. Below is a look at what makes them work from the inside :

You can see the LED emitters and the nice photograde polycarbonate lenses that diffuse the direct sources a bit. You can also see the big custom anodized heat sinks. These lights are made from modules of 12 LED's to make 12, 24 and 48 emitter units. The circuit boards the LED's  are soldered into are are made not of typical fiberglass but METAL ! Your read that right, medical spec product here. This greatly adds to sinking the heat the LED's make. The boards themselves are glued with a special heating conducting silicone glue that's VERY expensive but does the perfect job in securing things and conducting the heat away.  Mil spec product like is never cheap, but it always works great.

While LED's get billed as "cool" lights, they do in fact make heat. They typically emit heat towards the back of the unit. If you don't get rid of the heat you burn the LED's out rather quickly. So heat management is important to LEDs and thats why these lights are made so well. These units have no fans which is a major boost in keeping a reliable life thanks to this mil spec fabrication. The heat sinks will get warm during operation, but never hot.

Next are the CREE high CRI of 94 LED's. They aren't cheap to say the least, but that's what it takes right now to create an LED light of true cinema quality. If you take high per unit cost X 24 or 48 emitters you can see how the price of these lights gets up there. 

The benefits of high CRI is important. While you can filter out green with gels ( minor light loss ) or camera white balance ( sometimes ) you run into problems with mixed sources. If you mix sources the only option is minus green gels in 1/8, 1/4 or 1/2 values.

The other place CRI makes a difference is in gelling the lights to other color temps. These lights are 4300K. That might seem odd but that was done because these LED's have the highest CRI possible right now and thats the color temp they are made in. Going to 5200-5600K would drop the CRI. I have a 5600K LED that if you gel it to 3200 goes pretty visible green because of its spikey performance. That's a CHEAP ebay light. Using a 4300K light also works perfect in a lot of office environments lit with overhead florescent lights. Often all I'm using in these situations are diffusion.  4300 also means minimal light loss when going to 5200 or 3200. SInce these lights have throw to them gelling doesn't hurt very much. Even when using correction gels I still have these lights dimmed to 50% or 75% ! 

I love the compact size. 2 of the dual lights with power supplied and AC power cables are easy to travel with including airline friendly case. I could easily put 3 lights into a case and still be under 50lbs. If that matters, this is a big deal. 

Another thing I like are the dual ball swivel locks on the back. They make positioning and aiming these easy. Yes light a fresnel light they do need to be aimed to hit what you want to light up. Here is a look below at them on a shoot I did a few days ago for a national sports network at Lambough Field. 

In the background of the camera shot there its all 3200K tungsten. In the foreground there was a mix of tungsten and 6000K daylight. We went direct with the 4300K which got the background a little bit warm but still nice. The daylight that was spilling into the talent was simply washed away. You can see how these lights are throwing from 6-8 ft back from the talent. There's not wasted light being dumped all over the place like panel lights... not that I don't have some panel lights and have uses for them too !

The entire power draw is an amazing 60W per light. This easily could of been a dual 500 or 1K tungsten & gel shot or 400W HMI's. They are also dimmed to about 80% for better balance with the background.

These lights have a XLR4 DC 12V input for alternate power options. I haven't gotten around yet to getting some Anton Bauer plates with XLR4's on them but I will eventually. a 120W Hytron will run these for 2 hrs straight. Given the nature of live shots, we could shoot all day just turning them on when needed. Without the warm up of HMI's you can go live at a moments notice if you get the call.

Above : Another ESPN shoot at Lambau Field With Bob Holzman as talent, Chris Hibben on camera. I have the quad 48 working as key, and the 24's as fill and hair light. The big flex fill is bouncing back in some good light and blocking out some bad light. Went live quite a few times during the day with Packers updates. 

Another nonobvious feature of these lights are the internal driver boards. They make 250fps safe light. Try that with cheap LED's and even some of the expensive ones and you won't be happy, you'll have flicker. While shooting high speed isn't something you do everyday, its nice to know these can play in the mix up to a reasonable point. 

 The problem has been that most people expect these lights are $300 because of the cheap panel lights coming out of China. The problem is the parts in these lights cost more than that, never mind labor, machining, anodize and powder coating, and even, well, how about some profit so the lights can stay on and bills get paid ? Of course the question I'm going to ask - what would you be WILLING to pay for quality like this ? Post a comment and let me know, maybe there are one or two left you can have for yourself !

Wednesday, December 18, 2013

Sell Your RED for a C100 ? Maybe !


First you can click on the image above or HERE to read this article that has stirred up some controversy. I in many respect agree with the guy. Dealing with RED RAW files is a pain - big files, native vs transcode proxies for your NLE, RED Rocket now on AMD GPU decodes, pre-grade a base look vs LUT in your NLE if it has the hardware to do it ? Lets face it, while RED _can_ make some great images dealing with those images once they leave the camera can be a pain. In fact I recall doing a RED shoot where the drives would drop out of record because of the intense sound vibration of auto racing. Yup, those engines were so loud that they vibrated the drives and caused them to drop recording. That led the camera to crash, 90 sec reboot ( RED ONE, Epic's are quick ). Now that was a couple years ago, now SSD's would of solved the problem as in RED's expensive solid state media.

So lets talk about this post. This guy isn't the only one to make their way to a C series camera from other more expensive cameras. First C series cameras just make the best HD you will get for sharpness and having a small compact lightweight body with amazing low light performance. Add an external recorder and you can shoot ProRes for about $1k with storage. As Dave above points out, all his dslr rig parts didn't work well with the RED so he had to get a pile of new bits. The C series camera for me required a new base plate as my old ( cheap ) one set the lens too high to work with the matte box. I bought the Berkey System unit, cost $400 and I was done. All the other bits moved over fine. I added an extra third party battery for $75 and I'm done. I already had a pile of fast SD cards to use. So my extended investment around the camera was very little. All my glass works with the new camera including some older ones I wasn't sure would hold their own but have surprised me that they do.


As for shooting I'm gonna disagree with him. He posted  a test video of side by side shots. First if that was an EF 50 1.4mm lens, what a crap lens to flare that badly. Thats not a what I would call a good shot for camera testing but I'll go with it. Next is his claims of the RED making a less than ideal color rendition of images for his tastes. The images are labeled graded, but really ? seriously ? Some clearly have different WB points. Perhaps the issue here is his lack of critical grading skills because I know I could of easily of matched the color tone of the 2 shots. I've certainly matched shots that where far more out that than. I won't say its easy, but in the case just some warming and mid lift would of done the trick. In fact who knows what the C100 was set to as well. Having just graded my short I can say that the C100 material handled much better than dslr shots and was a pleasure to work with. Most of the time the adjustments where pretty small with the Clog camera settings, the stock ones at that ! I've certainly made a modified version that gets a better in camera image that I shoot with most of the time now. I still keep tweaking it.

Perhaps the much bigger difference is the sharpness of the C100 vs the ok but somewhat soft / not as detailed RED shot. Given that the C100 does the 4K->1080 scale in camera vs the RED doing it in software, I suspect user error here. For example, were the RED shots done at full or 1/2 res ? was it properly processed in the RED app with some appropriate detail setting or not ? There are just too many potential handling errors here to write off the RED as looking more like a 7D for sharpness. I'd expect the RED to be in the same ballpark as the C100 for sharpness but of course requiring more work to get there.

However the comments about the Scarlett not making for creative images I can somewhat see. If you need a bigger heavier rig to shoot it on then yes that can at times get in the way. However just like you can strip down the C100 to barebones you can also do that with the RED. No the Scarlett isn't quite as small but it certainly qualifies as a compact body, it just weighs a lot more. So I kind of find this point a failing. While the RED takes a bit more effort its not something that should really make a difference.

Did he make a good decision ? yes I think so in the end although the reasoning may not of been the best. There are other ex-RED owners who also pitched their cameras for C300's for many of the more practical reasons I've mentioned - handling the images after shooting. Perhaps another is that some users have had problems with their RED cameras. Word has it that EPIC's have a nasty problem of bricking up as of late. Its one thing when you have to power up and down, its quite another to have to carry another backup body simply for the just incase factor. Well who I am I kidding because I have a backup body too with my 60D but usually thats for 2nd angle shots and other less critical uses. However the reliability of RED's has never been their strong point so for that alone one might consider switching to something else. With the BMD 4K camera still not shipping thats still a ways off. On the other side for $22k you could go to a C500 if you really need and want 4K.... oh and don't forget an AJA recorder for it so maybe more like $27-$28. Still in the ballpark of other options. There is also the NS700, F5 and F55 cameras too. 

In the end, find a tool that works for you. Camera, NLE, whatever. All the cameras being made are so very good these days and the differences are often generally small. The other part of the question is if a peice of gear makes good business sense - can you pay it off fast enough and will it actually make you money ! Sure RED has a certain mystique and snob appeal, but no one would turn their nose up at a F55 or C500 either.  However, I know people with RED's who get work simply because of the name on the side. Hey if some agency will give you work that way who am I to argue .... well as long as you are also a good shooter that is ! As always Think before you buy., When changing gear upgrades that doesn't always mean paying more for your new item  than your last one. What I paid for my C100 was about the same as my first SD camera, a Sony DXC-327 and we won't compare them, will we !

Monday, December 16, 2013

ENG Lens On Your S35 Size Sensor Camera ? Maybe

If you have ever shot with a real ENG full size camera and lens, the entire DSLR thing has so far mostly left you empty handed, or perhaps empty gripped. Sure Fujion has some crazy expensive  lenses for this range, but they are of limited zoom ranges compared to what you used to get in 2/3" mount with 12, 16 and even 22X range glass. Some very where very wide angle. Wouldn't it be great if you could take your HD ENG lens and put it on your big sensor Sony FS, F3, F5, AF100, Canon C series or dslr camera ? While M 4/3 mount adapters have been around, the often required that you engage the 2X extender to cover the image. The problem - 2 stops of light loss and some image sharpness. So here enters this adapter by the most respected AbleCine. Is it any good ? does it work ? yes and no.

This video below was shot with the HDx35 Mark II B4/PL Optical Adapter. It works, it powers the lens up for zoom control but its clearly got sharpness on the edges problems. Now its hard to say if it was this lens, or particular adapter or both or just lack of giving it a good smack to make it work right. It does basically work, and for news type shooting this may be perfectly fine. To Quote AbleCine's website on this item 

The HDx35 mk II is an optical adapter that enables B4-mount 2/3” HD video lenses to work with most Super-35 format large sensor cameras. The Mark II system has increased coverage to work with more cameras, and now includes the Universal Mount System (UMS).

Broadcast lenses are available in high zoom ratios with wide apertures in a relatively compact size, making them a desired option for many large-sensor camera users. Designed and built by IB/E Optics for AbelCine, HDx Optical Adapters mount between a B4-mount 2/3” lens and a large sensor camera, expanding the projected light to cover the image area.

HDx Optical Adapters increase the focal length of the attached video lens so that the expected field-of-view of the lens is maintained on the larger format sensor. The depth of field of the image will be closer to that of the larger format.

All HDx Optical Adapters optically correct for the different spectral alignments between three-chip prism block sensors, for which the B4-mount lenses were designed, and the single sensor of the large sensor cameras. HDx Optical Adapters are highly telecentric in design, delivering a bright, sharp image across the entire frame, with excellent color and contrast.

The HDx35 mk II adapts from B4 to a Universal Mount System, which allows the HDx35 mk II to be mounted on a wide variety of large-sensor cameras without shop service. It ships standard in ARRI PL, with available adapter mount options including Canon EF, Nikon F, Sony E, and Micro Four-Thirds. The Mark II includes a 3/8-16 threaded hole and two posts for lens support.

The HDx35 Mark II expands a B4-mount lens image by approximately 2.7 times, covering:

Vision Research Phantom:
Flex, v642, v641, v341 (up to 2560x1440)
HD Gold (up to 2048x1112)

C500, C300, C100

ALEXA (16x9 & 4x3)

F65, F55, F35, F5, F3, SRW-9000PL, FS700, FS100

Scarlet & Epic (up to 5K 16x9)

Effective aperture is lowered by approximately 2.5 stops.

So what it seems this is a 2.25X extender with the right mounts on both ends and some compensation for the RGB focusing of ENG lenses onto single sensor glass. Not a small task to do right and most certainly credit to these guys for trying this out. Certainly cameras like the canon C series can take 2 stops of gain outside from say 320 to 1250 and you'd never know. Even 850->3200 wouldn't really be noticable. However other cameras that are more light gready might not play so nice. As with anything else it might be worth a rental to see if your ENG lens will play on your own big sensor camera before plunking down $5800 MSRP. This might make sense if you have $20K into a real HD ENG lens. However many folks have quietly found that their SD glass works nearly as well.... they just won't jump and say so. Of course I've had some SD glass that was expensive and not so good, so course YMMV depending on lens and how its been treated. Even still its a much cheaper option than a cabrio lens.

Friday, December 13, 2013

C100 Green Screen Studio Shoot With Ninja2

Canon C100 ninja2 HMDI SSD recorder shooting green screen chroma key

Studio shoot today. I like doing them. So much easier most of the time, especially for certain types of work. Today we shot celeb product endorsements on green screen. Nice to have  big diffused light sources that give your talent some room to move around in. Using 2 575 HMI's as the front light sources on the talent dropped power draw to next to nothing. The rest was lit with LED's. My to cheap 1000 LED panel lights easily got the green screen into shape with almost no effort. Even if they might have a green spike this is the perfect place to use them. Ran them at 3/4 power which was even better. 

In the front we added one of my custom LED lights to add some warmth. It seems the 10X10 in the studio used a fabric that was a bit blue / cool so adding the warmer 4300K light balanced it out. The high CRI of these lights is important when mixing with other sources like this. The hairlight is one of the smaller units. Our total power draw was just under 2K yet the camera was sitting at 5.6 @ ISO 1250. Thats only a few db of gain over the native 850 ISO of the C100 so it was perfectly clean. 

For this shoot, I bought a Ninja2 to record the C100's HDMI output. It worked fine. Of course the 2 18" HDMI wires I bought are always 1-2 inches short no matter how I mount the ninja ( except on back rails ) so I had to grab a 3ft wire and use that. Trigger into record always worked unlike some other camera mounted DDR's I've used. The mini monitor was good for every one to see the picture and have TC for logging. The 256gb SSD worked perfectly and I used about 85gb of space in ProRes422. I skipped ProRes HQ because there was nothing here to challenge the codec. All I would be doing is using 2X the disc space. Comparisons of the native AVCHD 24 and ProRes are coming up as I start editing the project. Battery life on the ninja was really good and helped again by using a SSD that uses less power than a spinning drive. I think I got about 4 or 5 hrs of run time on the stock battery which is pretty good. It lasted about as long as the camera battery did.

Thursday, December 12, 2013

Premire Pro CC 7.2 Released



New updates on CC have been released today including Premiere Pro, Speedgrade and After Effects. Go get'm.

UPDATE: Ok, not quite AE yet. DOH !

Wednesday, December 11, 2013


Even I get to shoot some selfie shots. I LOVE this setup using the Berkey System C series base place plus their 15mm side mount. Some baseplates want you to see their big red logo, others think functionality is more important. The 15mm side mount removable and can be changed to an arri compatible rosette if you need that or save the weight and lose all of it. I did cut the 15mm rod down to a shorter length for a safer setup. The 15mm mount itself has a ratcehing METAL knob that allows the mount to really grab and not rotate around... unlike some of the cheap stuff out there. I've had the cheap stuff - you can't tighten it enough, its not quite precise enough, or the hardware strips out or breaks. Solid hard high grade aluminum matters when it comes to camera mounting.

Meanwhile I've heard your requests about more on LED lights. I've been using them all this week and I'll have something soon once I get done shooting real paying production work.

Saturday, December 07, 2013

Digitial Wireless Audio For $400 ? Yes But -

Friend Ty Ford takes a look at the Audio Techinca DIGITAL Wireless system. Its $300-$400, 24bit 48Khz, no compander. It uses 2.4ghz which is a little limiting but range is 100ft at 10mw. Sounds perfect for a camera hop in the price range. Downside ? You knew I was getting to this part didn't you. No camera  or audio bag usable reciever. Its an AC powered unit that looks a lot like a WiFi Router. Well we can only hope that AT will come around with a mobile unit, or some one else will. I find it crazy that a digital 2 channel camera hop should still cost several grand.

Friday, December 06, 2013

8mm Digital Sensor Film Insert

Interesting idea. Digitial sensor in 8mm film cartridge recording to SD card. Mostly OTS parts. Its it practical ? maybe. Several years ago at NAB I saw a 16mm film mag with digital sensor in it. Didn't go anywhere. However that was also at the time when solid state media wasn't in the main stream for recording yet. Product never went anywhere so we'll never know if it was good or not. Likewise I have to wonder about this. A new iphone has at least as good a sensor and if you add in the 8mm Movie Camera app for $5 you are off and running. I ran this app on my own iPhone for some 8mm style B roll on a project. Worked fine but the shot was eventually taken out from the final cut. I supposed just having the camera body and lens though would yield a certain asthetic would might be rather vintage. Anyway, they are talking 4:3 frame on 720 HD image. Probably fine as thats more than most 8mm lenses would ever resolve anyway. On a good day 8mm might be VHS ( 320 lines ) due to film grain. I guess we'll see. They will certainly need to bring the price point in at around $100-$200 because anymore than that and I think you'd just go to a BMD Pocket Camera.


  • 720p HD video capture in 4:3 format
  • Frame rate automatically adjusts to camera settings (up to 60 fps)
  • Integrated Film Look options
  • Unlimited storage via removable SD card
  • Battery and recording status light
  • Specifications
  • Image Sensor: 5 megapixel Omni Vision OV5600 series
  • Video Encoding: 720p HD H.264 (4:3)
  • Memory: Removable high capacity SD card
  • Connections: One mini USB port (primarily for charging)
  • Battery: Rechargeable LiPo battery providing up to 3 hours of continuous recording
  • Housing: Machined aluminum, color anodized and laser etched
  • Height: 70mm
  • Width: 75mm
  • Depth: 24mm
  • Weight: 160g

Thursday, December 05, 2013

Interchangeable Lens On Your GoPro ?

Interchangable lens on your GoPro H3 ? Ya right... until these guys came along. Remake the front of the camera so you can  mount a C mount lens ? Sure ! GoPro has always been limited to ultra wide lens selections. This pretty much opens the doors to whatever your want. DIY kit is $200. Complete kit with camera is $800. I think worth it if the 2.7K shooting of the H3 or H3+ matters to you. The camera makes really nice pix especially at that res. Being able to use a somewhat more narrow lens could really be good when the simple extreme wide isn't what you want. Likewise a 200mm or more lens on the front could give you some ultra telephoto results that you want. All good

Sunday, December 01, 2013

Canon C100 With Vintage Telephoto Lenses

I know its been a while ! Check out some crazy cheap vintage lenses on my C100 and see if they measure up.

Tamron 400 6.9 on C100 ?

Ok, so I do crazy things sometimes ! C100 sporting vintage 1970's Tamron 400mm lens. Just finished video review and waiting for youtube to finish uploading ! Interesting results. Would love to try matching canon 400mm lens ! I also had a Vivitar 85-205 F3.8 in the mix too made in 1969. How good could it be ? video VERY shortly