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Oke little bit showoff.. But we did a succesfull setup last weekend with the Ursa Broadcast and a Fujinon Ah66x 9.5-625mm F1.6

I will see what if i can get my hands on a few video clips did.. Otherwise next weekend we have the same setup at a different event.

I must say i had a few issues. The main issue was that the Artist wasn't lit very well, Being in the Shade i had to go to F5 to be propper lit. While Zooming out the crowd that was in the sunlight would blow out on me.. So i had to go to F7 F8.. As it was only 1 cam and no shading behind it.. I was a challenge to get the lighting right all the time as the Ursa still doesn't have a propper Auto Iris function. Which all other Broadcast cameras have standard build in.. So i was fiddeling with the buttons all the time to correct my Iris. Which gave a bit more shake in my picture as pushing a button while zoomed in will be vissible

But the picture quality of this lens was superb being a SD lens on a HD/4K sensor it was very sharp and crisp. Using the 2x Extender on this lens would work.. We had enough light.. But focusing was a nightmare at that point..

We were 75M from begin of the Stage. But about 85 meters between Lens and Artist.

I could not whithold you guys of the pictures.. Maybe from next week i have some footage to show.. I added a small phone vid from it.. I put the vid on Private as we can't show the original footage of this job. But at least you have an idea of what is was capable off..





https://www.youtube.com/embed/m-nGSUUgYXA?rel=0

Boxlenses are awesome

Have you tried using SDI in/out to control the iris from ATEM, and did it work with this lens?

And was there any problems mounting the camera to the original philips mount?

The analog iris is still a problem with the Ursa camera’s. I hope there Will Be a fix soon

Also the lack of Auto iris function makes Things difficult when you working alone with such lens that can zoom to Great lengths.

The only mounting issue i had was that i had to remove the shouldermount underneath the camera as it is 4mm too thick. So i could not rest the camera on the base of the large lens adapter. Fixed that with putting Some spacer in between the LLA and camera to prevent the camera hanging onto the lens.

Next sunday we have it Out again on a job. Will post Some more findings Then.

Iris control on the Ursa Boradcast and Pro has been fixed with camera FW 5.1.1.
Cheers

Are you able to get any actual camera footage using this lens? From the VF, it doesn't look like there's much CA -- hard to tell just how sharp the image is.

I had not much trouble with CA.. Checked with that.. Focussing on the long end is a bit harder.. As the DOF is very big there if i had to open up due too dark area in the stage..

Also the focus had some extra issues were sometimes you think it is not sharp.. But the lighting guy was using it's hazers on full on mode.. So every now and then the artist dis-apeared behind a cloud of haze.. Which did make it harder to run this setup as you are not sure if you are sharp..

As the artist is quite a big deal in the States and world wide.. I can not share real footage of this..
We do have the same setup in 4K running in 2 or 3 weeks.. I think i'm able to get some footage there.. Maybe not from artists.. But sure time in between the acts..

Alright.. We had another live event with the Fuji 66x.. 50~60 meters from the Artist.

I have not yet all the footage inn.. Only some left material that was on the SSD's that weren't wiped..
But the main drives are still with the client.

Original material is UHDP50 In resolve rendered to YT 1080.. But wow comparing the 1080 from resolve in VLC vs YT 1080.. Really YT what did you do to my file.. Lot of artifacts. While the original is clean..
Most of the shots are from when it was getting dark and completely dark.. Only the first shot is kind of daylight.. At the end we were running +12db F1.6 Zoom limiter on (about 6 meters from the end of the lens.. The rest was too hard to get focus right due too a heavy DOF.. )

Ursa Broadcast 4K, recorded on Atomos Shogun inferno 4K prores 422.

Please watch on YT at HD..

Tryed a UHD export for youtube on Resolve.. full of artifacts... Any render tips from somebody to get a nice compressed file while still get good results.. (**Doesn't do editing normally )

Xtreemtec wrote:Tryed a UHD export for youtube on Resolve.. full of artifacts... Any render tips from somebody to get a nice compressed file while still get good results.. (**Doesn't do editing normally )

h264 exports are quite bad out of Resolve, imo. Better to export DNxHR with good quality, since YouTube will transcode it again to VP9 anyway.

Great Daniel! Thanks for the video.

I have a question, would it make any difference for me if I use the Grass Valley LDK 4482 or the Fujinon ELH-112-18A lens sled with that lens and an Ursa Broadcast? (never used a box lens before)

The Super Expander is made to interface directly with old GV cameras, there is no provision for a VCT plate.

The Fujinon sled is designed with an adjustable VCT support that will interface with multiple cameras.

The correct sled should be sourced through the vendor as part of the lens rental package. Typically this entails lens, sled, zoom, and focus controls and servos.

Well i wish i had the fujinon one. It is lighter, easier to correct a VCT plate and adjust heigth.

The GV/Phillips/Thomson ( all the same) Will work. What it does is mechanical connecting the lens to the tripod. Power the lens with 12V and make a connection conversion between the 12pin lens connector of the camera and the “centronics” connector of the box lens.

I could not keep the BMD VCT mount under the camera as it is 4mm too high.
But i had a low profile VCT plate for DSLRs laying around. Added a 10mm alu bar to that and that gave me the right heigth.
Don’t leave the camera hanging on the camera mount. This can damage your lens mount and camera flange.

I just got to use the broadcast camera at a festival with my SD 55x for the first time. Everything about it was far superior to what I was getting with the 4k PL's with the B4 convertors. I even had clients come up and tell us how sharp everything looked.

fujinon ah66x9.5 lens

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Matt Certa wrote:I just got to use the broadcast camera at a festival with my SD 55x for the first time. Everything about it was far superior to what I was getting with the 4k PL's with the B4 convertors. I even had clients come up and tell us how sharp everything looked.

What's the make and model of that 55x Matt? TIA!

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Looking good Daniel!

If there's still no analog iris support on the Ursas, were you using a potentiometer of some sort to control it?

Not sure if this older box lens works with Fuji's ERD-10A zoom demand, but I've used it on similar single camera no shader shows with HA42's to ride my own iris as it has a ring on the bottom for your index finger -so you never have to take your hands off the pan bars!

Great to hear about sharpness and lack of CA on an SD lens, I think the much larger input glass and overall optical elements in the box lens definitely have a lot to do with it.

seung jung choi wrote:https://youtu.be/TMf8t2AzODo
fujinon ah66x9.5 lens

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https://serviceapi.nmv.naver.com/flash/ ... height=306

Great shots and setup Seung! Your AH66, HA18 and J11 all matched very well!

Oh yes the analog Iris can be controlled by the camera.. But it isn't that smooth yet.. And Auto Exposure takes big steps that are really notishable.. No Smoothing in between.. It is rather steps / clicks like i have a Photolens with digital iris on it..

Sure the big glass will do a lot better.. Also don't forget these lenses are TOP notch.. There was no cheap version of a boxlens.. All high quality glass and coatings.. And sure a HD or UHD lens would look sharper.. And using the Extender you instantly get a very soft picture.. But hey it is a lens that is 16/20 years old.. In 2 weeks IBC is there And will take a good look with UHD box lenses if i can spot differences.. Hope BMD has one on there booth with the ursa.. That would be ultimate reference material...