Flying a P&S Tech Pro 35 adapter on a Sony F900?

[Robert Starling SOC]

I'm negotiating to camera op and Steadicam on a short that will be using the F900/3 with a P&S Tech Pro 35 adapter and prime lenses. There will likely be low-mode as well.

 

I've flown the F900 with Digi Primes but not with the Pro 35 adapter which weighs five pounds extra and makes the "Sony Exxon Valdez" into an aircraft carrier.

 

It looks like the whole thing will be super front heavy and then some.

 

Other than eating my Wheaties, are there any special needs / concerns flying this set up?

 

Thanks!

[Afton Grant]

Hey Robert,

 

I honestly don't know the actual weight of that entire setup, but I do know it's one of the heavier setups I've flown. I would definitely check to make sure it doesn't exceed the limit of your G-50 (that's your arm, right?) - remember to add in mattebox, rods, focus, transmitter, etc.

 

At all costs, power the camera off of your sled. Obviously, you'll go through sled batteries faster, but the weight you'll save up top will be worth it.

 

Also, the Pro35 has two points from which to support it via the rods. Every time I've seen it come out of the box, it is set up using the backmost one (closest to camera). With this setup, I've found a bit of flex in the lens as follow focus is operated, which can easily lead to motor binding. This can be fixed by using the forward support on the Pro35 - it decreases the leverage the lens has.

 

What do you have for low-mode brackets?

[Thomas English]

Not sure if it will fit on a g50 but really it s not such a big deal to fly. You ll almost certainly be flying zeiss superspeeds which are dinky little lenses. Worry if your flying cookes as well as a downconverter, pstechniks and batteries because your downconverter insists.

 

remeber to keep turning on that green button if your powering off your sled.

[Brad Grimmett]

You ll almost certainly be flying zeiss superspeeds which are dinky little lenses.

I'm curious why you say this....I've flown the Pro35 once with superspeeds and many many times with Cooke S4's, which seems to me to be the favorite combination. Is it different on the other side of the Atlantic?

[Robert Starling SOC]

I would definitely check to make sure it doesn't exceed the limit of your G-50 (that's your arm, right?) - remember to add in mattebox, rods, focus, transmitter, etc.

 

Yes, I have a G50 arm that is maxing out at about 53 lbs total. I've flown the F900 a lot but the Pro35 addition is pushing it right to the edge.

 

Here's what I've come up with for rough weights so far (ROUNDED UP):

 

My sled and monitor with two PowerCubes 18 lbs

 

F900 - 15 lbs (est stripped) Sony specs says 17 lbs with tape and BP-60 battery

Pro35 - 5

BFD - 1

Motor - 1

Cables - 1

Miranda - 3

Transm - 1

 

That's nearing 45 pounds without lens or mattebox so we're very very close to the limit of the arm depending on the lens choice.

 

Other than renting / borrowing a G70 arm any suggestions on how I can try to work with the DP to minimize even a few pounds in this set up? The job is a referral, a nice script and a rare opportunity for me to shoot narrative work; the last thing I want to have is an equipment capacity issue or a bad reputation.

 

Thanks!

[Afton Grant]

Do you have an HD monitor? If so, you might be able to lose the Miranda. If you're able to work teathered, you can lose the transmitter. You can request removing viewfinder and microphone. Clip-on mattebox. Can you run the sled with only one Powercube?

[Thomas English]

Brad,

 

 

Out of the 20 or so jobs I have done on the pro35 in the UK, 19 of them have been on superspeeds. Granted, the lenses of choice over here are the cooke s4 just as in the states however I suppose we simply don t have the light levels you have in LA we quickly quickly run out of breathing space even on the superspeeds. If there is a reason for a different trend to your side of the atlantic this would be it.

 

Also most of the facilities houses here specifically market their pro35 packages with superspeeds. I am actually very keen on superspeeds if anyone out there wants to sell me a set please let me know.

 

Robert, That is very close to your 50lb limit. I have done jobs in my early days on 3a arms where the camera package (I remember my first 35mm gig, moviecam compact + anamorphics) was way heavier than my arm capacity. I am not saying you should go ahead blind, I am simply saying don t be afraid of operating with a bit of lift in emergencies.

 

xx

thomas

[Alec Jarnagin SOC]

Robert,

 

A few tips:

 

I carry cables that go from my junction box pwr/vid port (4 pin Lemo on a PRO) to the female AB connector. This allows me to plug in a downconverter to my sled and forego a battery on the camera (it also places the downconverter's load onto a different battery than the camera's power depending on how I have my sled configured).

 

Lose the viewfinder, etc. Place your dovetail plate as far forward as possible on the quick release plate because it will be front heavy. I think the issue of lenses used will depend on the market you are in. Small markets will likely have less sets of S4s and if they are shooting HD, they are likely to have less money (although this assumption is becoming less and less valid) and thus we see many pairings of these adapters with cheaper lenses. I'd add that the Zeiss DigiPrimes are so good that if they have money, they will often take those over the adapter and S4s.

 

The PRO 35 adapter has a 3 pin fisher on it that is the same as Arri's remote run. Since the adapter occupies the lens port on the camera, this is the only way to do remote run. Again, same cable as Arri (set switch to momentary if applicable to your focus system).

 

If you are required to carry audio receivers, velcro them to the back of the camera in place of the battery. Makes the camera longer, which is no fun but it does put some weight in the back.

 

Good luck.

[MIKE GERANIOS]

Good to hear this Thomas cause I have the same weight issue,the p&s pro35 plus cooke s4 50mm-SONY XDCAM plus everything else on a 3A ARM :unsure:

[JobScholtze]

I use the pro 35 on several camera's. The F900 is on of them. Becose the pro and the mattbox makes it very front heavy, i use the onboard battery. If its a v lock sony battery that is, not the AB brick. Works for me.

 

2 weeks ago i used the new Canon Primes. Wow, i love them. Really nice, all the same weight and a nice range.

[Robert Starling SOC]

Out of the 20 or so jobs I have done on the pro35 in the UK, 19 of them have been on superspeeds.

 

Hi Thomas, you were right on with the Zeiss Super Speeds; here's what they have spec'd at the moment:

 

18mm T 1.3

25mm T 1.3

35mm T 1.3

50mm T 1.3

85mm T 1.3

 

Thanks!

 

Robert

[JobScholtze]

Out of the 20 or so jobs I have done on the pro35 in the UK, 19 of them have been on superspeeds.

 

Hi Thomas, you were right on with the Zeiss Super Speeds; here's what they have spec'd at the moment:

 

18mm T 1.3

25mm T 1.3

35mm T 1.3

50mm T 1.3

85mm T 1.3

 

Thanks!

 

Robert

Overhere we use the 12mm too. Little bit darker on the left and right side of the frame, but still a very nice lens

[Ramon Engle]

Hey guys. I'm using the P+S adapter next week as well. I've had issues with camera ON/OFF using the Arri cable. I've had it work on some units and not on others. I have the Preston HU3. What gives?

 

Ramon

[Thomas English]

12 mm superspeed! wow I never knew! I suppose a bit of darkness can be fixed in post if a note of it is made on the board. I ve never had a problem with the camera run 3pin arri on the PS techniks, I use a bartech. I forget, on the preston do you assign as to whether its momentary or continuous signal or does it automatically detect? Maybe that has something to do with it...