Where does the ocean go: 十二月 2010

UV:

Cinegel #3114: Tough UV Filter
Mired Shift +8 A virtually clear filter that absorbs 90% of UV wavelengths below 390 nm. Absorbs excess UV output of arcs and HMI with minimal color temperature shift Deep-dyed base. (Transmission = 93%). or -0.1 stop

Diffusion:

Cinegel #3026: Tough White Diffusion (216)
A moderate diffuser with properties similar to tracing paper. Creates an even field of soft light with minimal color temperature shift. Tough, heat resistant base. (Transmission not available).

Cinegel #3027: Tough 1/2 White Diffusion (1/2 216)
Similar characteristics to Tough White Diffusion, but less dense. Tough, heat resistant base. (Transmission not available).

Cinegel #3028: Tough 1/4 White Diffusion (1/4 216)
Similar characteristics to Tough 1/2 White Diffusion, but less dense. Tough, heat resistant base. (Transmission not available).

Cinegel #3030: Grid Cloth
A reinforced diffusion material that is similar to the silk used in butterflies and overheads. Ideal for tenting and large area diffusion. Can be sewn and grommetted. (Transmission not available).

Cinegel #3032: Light Grid Cloth
Similar characteristics to Grid Cloth, but less dense. Can be sewn and grommetted. (Transmission not available).

Cinegel #3060: Silent Grid Cloth
A reinforced, woven diffusion material. Similar properties to Grid Cloth (#3030), but quiet when used outdoors in windy conditions. Can be sewn and grommetted. (60" x 20') (Transmission not available).

Cinegel #3062: Silent Light Grid Cloth
A reinforced, woven diffusion material. Similar properties to Light Grid Cloth (#3032), but quiet when used outdoors in windy conditions. Can be sewn and grommetted. (60" x 20') (Transmission not available).

Cinegel #3009: Light Tough Frost
Similar characteristics to Tough Frost, but less dense. Tough, heat resistant base. (Transmission not available).

Cinegel #3010: Opal Tough Frost
Similar characteristics to Light Tough Frost, but less dense. Tough, heat resistant base. (Transmission not available).

CTB:

Cinegel #3202: Full Blue (CTB)
Mired Shift -131 Standard Tungsten to Daylight dorrection. For converting 3200K sources to normal daylight. Deep-dyed base. (Transmission = 36%). or -1.5 stop, +2400k

Cinegel #3204: Half Blue (1/2 CTB)
Mired Shift -68 Boosts 3200K sources to 4100K. A partial conversion to compensate for varying daylight conditions and voltage reduction, or to boost aging HMI lamps and yellowed soft lights. Deep-dyed base. (Transmission = 52%). or -0.9 stop, +900k

Cinegel #3208: Quarter Blue (1/4 CTB)
Mired Shift -30 Boosts 3200K sources to 3500K. A partial conversion to compensate for voltage reduction, or to boost aging HMI lamsp or household incandescent sources. Deep-dyed base. (Transmission = 74%). or -0.4 stop, +300k

Cinegel #3216: Eighth Blue (1/8 CTB)
Mired Shift -12 Boosts 3200K sources to 3300K. A partial conversion to compensate for voltage reduction, or to boost aging HMI lamsp or household incandescent sources. Deep-dyed base. (Transmission = 81%). or -0.3 stop, +100k

CTO:

Cinegel #3407: Roscosun CTO
Mired Shift +167 Converts 5500K daylight to 2900K. Preferred either for a warmer look or when daylight is over 6000K. Optically clear. (Transmission = 47%). or -1.1 stop, -2600k

Cinegel #3408: Roscosun 1/2 CTO
Mired Shift +81 Converts 5500K daylight to 3800K. Used when partial correction is desired or when daylight is below 4500K. Optically clear. (Transmission = 73%). or -0.5 stop, -1700k

Cinegel #3409: Roscosun 1/4 CTO
Mired Shift + 42 Converts 5500K daylight to 4500K. Used when slight correction is desired or when daylight is below 4000K. Optically clear. (Transmission = 81%). or -0.3 stop, -1000k

Cinegel #3410: Roscosun 1/8 CTO
Mired Shift +20 Converts 5500K daylight to 4900K. Used when a very slight warming correction is desired. Deep-dyed base. (Transmission = 92%). or 0.1 stop, -600k

Plus/Minus Green:

Cinegel #3308: Tough Minusgreen
Mired Shift N/A Converts U.S. Cool White or Daylight type fluorescent lamps to 5500K photographic daylight by removing the excess green. Deep-dyed base. Equivalent to CC30 Magenta. (Transmission = 55%). or -0.9 stop

Cinegel #3313: Tough 1/2 Minusgreen
Mired Shift N/A Reduces the green output from fluorescents and other discharge sources. Deep-dyed base. Equivalent to CC15 Magenta. (Transmission = 71%). or -0.5 stop

Cinegel #3314: Tough 1/4 Minusgreen
Mired Shift N/A Reduces the green output from fluorescents and other discharge sources. Deep-dyed base. Equivalent to CC075 Magenta. (Transmission = 81%). or -0.3 stop

Cinegel #3318: Tough 1/8 Minusgreen
Mired Shift N/A Reduces green output from fluorescents and other discharge sources. Equivalent to CC035 Magenta. (Transmission = 89%). or -0.2 stop

Cinegel #3304: Tough Plusgreen/Windowgreen
Mired Shift N/A Adds green to natural and artificial daylight sources to balance with U.S. Cool White or Daylight type fluorescents. To be used with overall correction at the lens or in the lab. Deep-dyed base. Equivalent to CC30 Green. (Transmission = 76%). or -0.4 stop

Cinegel #3315: Tough 1/2 Plusgreen
Mired Shift N/A Adds partial green to Daylight and 3200K sources for balancing with fluorescents and discharge lamps. Equivalent to CC15 Green. (Transmission = 90%). or -0.2 stop

Cinegel #3316: Tough 1/4 Plusgreen
Mired Shift N/A Adds partial green to Daylight and 3200K sources for balancing with fluorescents and discharge lamps. Equivalent to CC075 Green. (Transmission = 92%). or -0.1 stop

Cinegel #3317: Tough 1/8 Plusgreen
Mired Shift N/A Adds partial green to Daylight and 3200K sources for balancing with fluorescents and discharge sources. Equivalent to CC035 Green. (Transmission = 93%). or -0.1 stop

ND:

Cinegel #3402: Rosco N.3
Mired Shift N/A Reduces incident light by one stop. Extra-wide 60 in. Optically clear. (Transmission = 50%).

Cinegel #3403: Rosco N.6
Mired Shift N/A Reduces incident light level by two stops. Extra-wide 60 in. Optically clear (Transmission = 25%).

Cinegel #3404: RoscoSun N.9
Mired Shift N/A Reduces incident light level by three stops. Extra-wide 60 in. Optically clear. (Transmission = 12%).

Cinegel #3405: Roscosun 85N3
Combines the effect of the 85 and N.3 filters. Extra-wide 60 in. Optically clear. (Transmission = 33%). or -1.6 stop

Cinegel #3406: Roscosun 85N6
Combines the effect of the 85 and N.6 filters. Extra-wide 60 in. Optically clear. (Transmission = 17%). or -2.6 stop

Straw:

Cinegel #3441: Full Straw CTS
A yellower (or less red) version of Full CTO. Converts 5500K daylight to 2900K. Deep-dyed base. (Transmission = 50%). - 1 stop , 6500k-3200k?, -2600k

Cinegel #3442: Half Straw 1/2 CTS
A yellower (or less red) version of 1/2 CTO. Converts 5500K daylight to 3800K. Deep-dyed base. (Transmission = 73%). -1700k

Cinegel #3443: Quarter Straw 1/4 CTS
A yellower (or less red) version of 1/4 CTO. Converts 5500K daylight to 4500K. Deep-dyed base. (Transmission = 81%). -1000k

Cinegel #3444: Eighth Straw 1/8 CTS
A yellower (or less red) version of 1/8 CTO. Converts 5500K daylight to 4900K. Deep-dyed base. (Transmission = 92%). -600k

Others:

E-Colour #165: Daylight Blue
Excellent sky color. Useful for cyc and border lights. (Transmission = 20%). -2.3 stop

E-Colour #183: Moonlight Blue
Used for dramatic moonlight effects. (Transmission = 18.7%). -2.4 stop

E-Colour #148: Bright Rose
(Transmission not available). -2.8 stop

E-Colour #104: Deep Amber
Sunlight, accents, area lighting with caution to skin tones. (Transmission = 64%). -0.6 stop

E-Colour #015: Deep Straw
Warm golden amber with some green. Useful for special effects-candlelight, firelight. (Transmission = 61.16%). -0.7 stop

Cinegel #2001: VS Red
Incendiary Red - great for fiery stage washes (Transmission = 12%). (FStop: -3.1s)

Cinegel #2006: VS Azure
Pure, crystalline blue (Transmission = 9%). (FStop: -3.5s)

http://www.rosco.com/us/filters/cinegel.cfm?sortOrder=cn&displayType=0

家裡的IMAC修好了不到2個星期就又壞了…沒有辦法整理視頻，只好現寫一寫了

大概有以下幾點需要特別注意：

1，必須使用35mm的PL mount Lens，如果使用s16mm系列的lens，會有黑邊（到50mm才沒有）

2，Target Speed必須開啟，如果不開啟的話可以在暗位或者焦外明顯看到MINI 35中的那塊毛玻璃。速度又0-8檔可選，振蕩速度越快，則畫面就越柔順，毛玻璃的存在感就越弱，但振蕩產生的噪音也就越大。

3，使用35 lens後，畫幅的focal length的計算確實是和35mm菲林一樣（也近似於ASP-C的DSLR），景深似乎也確實接近35mm菲林的效果，但是因為毛玻璃的存在，畫面焦外成像的效果並不理想，out focus的一些地方會感覺到畫面是隔了一層玻璃──尤其是在HD的畫面下。

4，MINI35會令通光量減2 F-stop，經測試，JVC H700加上MINI35後ISO大約是在100-160之間。

5，JVC本身支持1920x1080 50i，機器本身在pan的時候，或者畫面中有人快速走過時都有嚴重的jelly出現，在final cut pro裡輸出50i的素材仍有這個問題，我試了輸出720p之後才解決這個問題。

綜上，雖然JVC H700機內還有許多可調校的地方，後期也沒有找到一個相對最好的處理方法，但JVC H700 with MINI35，似乎較難提供一個讓人驚喜的畫面質素。P+S mount雖然能提供35mm的畫幅和景深，但卻並不能提供十分優異的畫質，但同時JVC700本身的sensor和成像系統也有一些缺陷，就顏色來講，目測也較DSLR影片差。