"user manual"
Contents
1. cessary For adjusting the bridge loosen screws on the bottom 3 4 Install the PRO35 Image Converter on the came ra and lock the clamp ring of the B4 Mount 3 5 Raise Screw A until post bears on precisely 3 6 Engage and tighten the knob B in the bottom of the post Also tighten the two screws placed eit her side of Screw B P S TECHNIK Professional Cine Equipment Manufacture 15 PRO3D 2 0 Power supply and cabling The Fischer Angle Plug is equipped with an additional clamp in order to avoid twisting and the hence result ing damage of the connector This is a standard for all currently delivered models of the PRO35 All previous models of the PRO35 can be upgraded or the twist protection can be removed easily The PRO35 Image Converter can be powered without any problems The unit includes the power cable 22612 From the lens connector Hirose 12 pin on the camera power is supplied as well as a Start Stop signal This signal starts and stops the converter automatically if sup ported by the camera manufacturer Other power cables are available from P S Technik however without Start Stop function Increased charging rate at low temperature The typical consumption of the PRO35 is about 300 mA at a temperature of 20 C At a temperature below O C the consumption can increase up to 1 Ampere If the Image Converter is internally equipped with a locking device the power supply and con trol of the PRO32. from light setup from optical filters in front of the lens as well as internal ND Filter and or from the utilization of the second iris diaphragm Right in front of the camera there is the second iris diaphragm It is engraved with ND neutral density marks in order to make a correct exposure calculation comparable to an ND filter IMPORTANT The visual depth of field does NOT change by using the second iris dia phragm Another aperture which is located behind the second iris diaphragm is only a kind of light valve because of the projection of the picture on the target Consequently a precise control of exposure is possible anytime If the exposure trough an external servo system is desired the aperture flange of the PRO35 is equipped with a geared ring Tip Mask the working aperture during the first days of production Like this you get used to the exposure correction with the second diaphragm P S TECHNIK 25 Professional Cine Equipment Manufacture PROOD Loss of light Beside the target the PRO35 Image converter has also other optical elements An explicit description would go beyond the scope of this manual Therefore there should only be named the main components 1 Safety glass in front of the target avoids permeation of dirt particles into the Image Converter 2 Target glass see above This is at the same time the image plane white engraving on the body 3 Prism block Makes an optical adjust
3. Primes T1 3 Zeiss Ultra Primes T1 9 T2 8 Zeiss Super Speed Lenses T1 3 Cook S4 Cook S4 Zoom T2 15 40mm Cook Zoom T3 18m 100mm Angenieux Optimo Zooms Zeiss Distagon focal length over 85mm Zoom lenses and Zeiss Distagon lenses might have vignetting problems These lenses should be individually tested before shooting Additionally we offer the following mounts for the Mini35 P S Technik interchangeable mount system and the PRO35 small mechanical change a wider choice of lenses Panavision Mount Nikon Mount Canon EF Mount Contax Mount BNC R Mount Leica Mount only for MINI35 P S TECHNIK 47 Professional Cine Equipment Manufacture List of Suitable Lenses 48 PROGD 8 Addresses and Contacts P S Technik GmbH Professional Cine Equipment Manufacturer Postal address Siemensstra e 12 85521 Ottobrunn GERMANY Phone 49 0 89 45 09 82 30 Fax 49 0 89 45 09 82 40 Email contact info pstechnik de Website www pstechnik de For an up to date listing of your local distributor or service centre please visit our website www pstechnik de P S TECHNIK Professional Cine Equipment Manufacture 49 Addresses and Contacts
4. image engineering de index php Produkte Testcharts DSC Labs http dsclabs com resolution htm P S TECHNIK Professional Cine Equipment Manufacture 21 PROJO 2 3 3 Adjustment wheel for target speed Next to the RUN LED is the adjust ment wheel for regulation of the speed of the oscillating target What is the Target The target is an element out of glass inside the Image Converter which is located at the posi tion of the image plane of the PRO35 Often described misleadingly as focusing screen or ground glass it fulfils a similar function in the unit It displays the picture which is projected from the lens The equivalent depth of field effect of 35 mm film is achieved only because of the special composition of the target surface and the physical size of the displayed picture Without the target glass the Image Converter would only be a relays lens The angle of view would be displayed correctly to the camera but the depth of field would be identical to nor mal lenses for this camera Because of the motion of the target motion blur the structure of the glass surface is blurred but it is visible when the Image Converter is switched of Depending on different factors see chart it can be worked with lower or it must be worked with medium speed Low speed Medium high speed Possible in case of low resolution Necessary in case of high resolution cameras cameras Possible in case of long exposure time Ne
5. saved in a lens file and easily callable in case of changing the lens to the PRO35 Image Converter Please 5 that not every camera has the functionality of lens files In this case contact your service engineer Professional Cine Equipment Manufacture Older camera types allow the colour shading adjustment only over the task V MOD In this case please contact your service partner or the manufacturer dealer Among others illuminators are offered from the following manufacturer DSC Labs http dsclabs com ambi_illuminators htm Image Engineering http digitalkamera image engineering de index php Produkte Testcharts llluminators EXAMPLE Shading adjustment on a Sony camera Setup Menu of Sony HDW F900R R Y 0 0 0 0 Parade display Waveform monitor in case of uncorrected colour shading Parade display Waveform Monitor with already corrected colour shading P S TECHNIK 29 Professional Cine Equipment Manufacture 30 PROGD 3 Tips and General Instruction Film Look Which elements are important Framerate Film works only with complete pictures that means progressive with 24 or 25 Hz Television systems work currently for the most part with half pictures interlaced that means with 50 or 60 Hz The higher the frame rate the higher is also the motion resolution A football game with only 24 Hz would not be as informative for the viewer as football game with 50 Hz Exposure time The comm
6. stops in synchronization with shutter the structure is frozen You are going to realize that countervailing artefacts become visible in case of a further increment of the speed 5 Note mark the best possible setting of the speed and re open the aperture for the normal shooting Like this you are able to minimize eventually appearing artefacts because even at a high aper ture value and a high depth of field only stopped structures converter OFF become visible and not moving ones PRO35 Image Converter MK II Compared to the classic PRO35 Image Converter the drive system and the noise insulation have been optimized This means that the maximum speed has been considerably increased at a constant maximum noise level and offers now an enlarged interval for adjusting high frame rate short exposure time Other improvements in electronic Re Design mechanical components among other things optimized synchronization and cable connection has been made All previous PRO35 Image Converters can be upgraded to MK Il for that purpose con tact P S Technik or your local distributor Professional Cine Equipment Manufacture PROJO 2 3 4 Second iris diaphragm continuous ND Filter In the practical handling with the PRO35 Image Converter the aperture of the utilized lens is mainly used for the definition of the desired depth of field The real exposure of the camera results like in classical film productions
7. 4 Unscrew the lever marked in the photo Turn the ring to adjust for best sharpness Tighten lever The PRO35 Image Converter is precisely ad justed for the camera Back Focus Ring Use a good quality monitor to evalua te the picture P S TECHNIK Professional Cine Equipment Manufacture 19 PROJO 2 Adjusting flange focal distance in the field Rule of thumb If you are seeing the structure of the target glass clearly sharp while having switched off the Image Converter OFF the flange focal distance is correctly adjusted Instruction Explanatory Notes 1 Mount a film lens to the PRO35 Select a mid range film lens around 50mm 2 Usea white chart Set a white chart at a reasonable distance to fill the image 2 1 Turn the PROS5 unit OFF Open the adjustable ND filter to Position O 2 2 Close the iris of the film lens far enough to allow the video camera to show the grain pattern of the target glass Back Focus Ring 2 3 Unscrew lever shown labelled in photo and turn the ring to adjust the sharpness Tighten lever 2 4 When the grain pattern is sharp the PRO35 is pre cisely adjusted for the camera Professional Cine Equipment Manufacture PROJO Example for test charts Test charts to control the back focus are available from P S Technik or ZGC Putora http www zgc com zgc nsf product putora Image Engineering Esser http digitalkamera
8. 5 Image Converter 0 0002200000200 een 7 Tl DOI ECO pn 7 1 2 AGcessones and spare alte Auen een inini 8 1 3 General OVerVieW a gu 14 2 SeluD ae een 15 2 1 Mounting the Image Converter u ea 15 2 2 Power supply Cabling viii is 16 2 3 Operating elements of the Image Converter eene 17 2 31 AA een 17 2 32 Back focus Adjusiment teen er 18 233 Age Speed een nee ee 22 23 4 Second iris diaphragma s euere 25 24 Adjusting th Camera E 27 241 Shading LEens Files viii A PiS Ea 27 3 Tips and General Instructions nn 31 A Un een 33 de Keimen der 35 da FAU ee ea ee 37 7 List of Suitable Lenses for PRO35 annn 47 8 Addresses and Contacts 49 P S TECHNIK Professional Cine Equipment Manufacture 5 1 O PRO35 Image Converter Lens Mount PL Mount for other Mounts see accessories Camera Mount 2 3 B4 Mount 1 3 Bayonet Mount Lens caps front and back O 15mm Lightweight Support Bridge with 2x 15 mm rods 75 mm 2x 15 mm rods 240 mm O Power cable to lens connector O Altogether in a wooden box for safe transport it is offered an aluminium box as an optimal accessory The lightweight support bridge for mounting onto the camera or the quick lock plate has to be acquired separately SEE ALSO LENS SETS FROM P S TECHNIK http www pstechnik de P S TECHNIK Professional Cine Equipment Manufacture PRO35 Imag
9. 5 Image Converter is typically driven by the 12 pin Hirose Lens Connector of the video camera Hence a overcharging of the camera is avoided the Image Converter shuts down automatically if the power consumption is higher than 1 Ampere If the PRO35 is used under conditions which anticipate high power consumption the con verter can be operated with an external power supply This could be a direct cable connec tion from the camera battery to the PRO35 or the use of a second battery In this case the internal power supply can be bridged switched off This bridge can be brazed on the back of the connector plate This modification requires experiences in the service of the Image Converter Only qualified service technicians are allowed to do these modifications MARK MODIFIED SYSTEMS ACORDINGLY IN ORDER TO AVOID DAMAGES ON THE CAMERA Z P S Technik give no warranty on modified systems Professional Cine Equipment Manufacture PROGD 2 3 Operating Elements of the Image Converter 2 3 1 Start Stop If the Image Converter has been started manually RUN Button a pressure on the VTR start button of the camera activates ONLY the recording the Image Converter remains in RUN Mode Manual RUN status VTR signal Result OFF VTR ON Image Converter ON VTR OFF Image Converter OFF ON VTR ON Image Converter ON VTR OFF Image Converter ON While the camera is recording the RUN Button is not active The Image Conve
10. Art Nr 22327 Version 0803 P 5 TECHNIK Professional Cine Equipment Manufacture PROJO Image Converter User Manual for PRO35 2 3 and PRO35 1 2 Cameras Model MKII ENGLISH Before operating this product please read the instruction carefully and save this manual for future use PRO Manufacturer Information The manufacturer of this product is P S Technik GmbH Siemensstra e 12 85521 Ottobrunn Munich Germany Please find worldwide authorised representation and dealer on our homepage http www pstechnik de or send an e mail to info pstechnik de asking for the contact details Concerning any service and warranty requests please contact your distributor or P S Technik GmbH directly P S TECHNIK 3 Professional Cine Equipment Manufacture PROJO A Safety instructions Temperature range The Image Converter has been tested for a temperature range from 0 C to 50 C For field reports regarding more extreme temperatures please contact P S Technik Technical Support info pstechnik de Maintenance Special Tools Do not touch glass components with sharp objects For cleaning do only use special lens cleaning supplies Refer all servicing to qualified service personnel Storage Please store the Image Converter in a dry and dust free place af Disposal Please dispose broken components and devices correctly 4 P S TECHNIK Professional Cine Equipment Manufacture Contents 1 PRO3
11. IC and Thomson cameras and allows you to fit additional accessories such as follow focus mattebox based on the LWS 15mm support A special support bridge for the PRO35Digital is inclu ded in the delivery of the Image Converter Side view fa A IN WA Wo pee ANS YN eV b Top view Art No Description Q 19548 Sony Ligth Weigth Adapter SLB 2 19547 Panasonic Ligth Weigth Adapter PLB 2 O 21958 Ligth Weigth Support LWS 4 compete with 15 mm rods 97 mm and 170 mm long Q 19590 Hand Grip Extension O 16167 Hand Grip with ON OFF Switch Q 19591 Hand Grip Extension P S TECHNIK T Professional Cine Equipment Manufacture PRO35 Image Converter PROSI 3 19mm Heavy Duty Support for the PRO35 Chrosziel based setup The following table and drawings describe which articles are necessary for a Chosziel based heavy duty support setup in order to use heavy lenses like zoom lenses or to connect 19 mm heavy duty based accessories to your PRO35 setup Qs 16251 18688 Art No Description Q 18478 O 18477 O 19376 Q 16245 16251 19545 18688 19544 Bridge plate for 19 mm rods for Sony and Panasonic video cameras incl 440mm rods Chrosziel Quicklock plate for Sony and Panasonic video cameras Chrosziel PROSB5 support bridge for 19 mm rods without rods Pair of spare rods for bridge plate 19mm x 650mm Pair of spare rods for bridge plate 19 mm x 440mm Pair of spare rods for bri
12. a separate adjustment To make this possible at least in a theoretical way most of the manufacturers work with so called lens files Ideally all information regarding the lens among others colour shading can be saved in these lens files However in practice there is often worked with only one lens file for several lenses because the differences between the lenses manufacturer are becoming less obvious If the P S Technik PRO35 Image Converter is used with a professional electronic camera it is recommended to create a separate lens file respectively an own setup for the colour shading Otherwise a vertical colour gradient can be the result in this case the characteris tics of chosen lens file and of the PRO35 Image Converter are too different incl the used lens 2 4 1 Creation of lens files colour shading The colour shading of electronic cameras should only be adjusted by qualified service per sonnel Your service partner can surely help you If you are renting the Image Converter please ask the rental house for presets for the equipment combination If you are in need of support on the film location the D I T Digital Imaging Technician can make relevant adjust ments Generally a lens file for each kind of lens is created For example a file for the PRO35 Image Converter with Cooke fixed focal distance Type S4 lenses and a file for the PRO35 Image Converter with Zeiss fixed focal distance Type UP lenses Lens fi
13. acture PROGD a 45 The PRO35 does not start What can I do 46 47 Background The PRO35 starts when the VTR signal goes to LOW Level on the lens connector tested on Digibeta Beta SP and Panasonic Some cameras do not go to LOW Level when pushing the VTR button We do not know whether this is a typical pro blem for a certain camera model or only for some single cameras Solution Connect a remote switch like RS switch 20499 from P S Technik to the PRO35 Image Converter 3 pin Fischer Then you can start the camera VTR and the PRO35 simultaneously This is the method preferred by most DPs Alternative switches are available from ARRI RS 4 and other suppliers Can I replace the target ground glass of the PRO35 if it is broken Yes it is possible to replace the target There are two possibilities 1 You can send us the broken Image Converter and we replace the target for you 2 You can order a new target and replace it on your own In this case the warranty ex pires Is there any place other than Germany where I can buy this equipment We have several local dealers You can download the actual listing from our website z Li P S TECHNIK Professional Cine Equipment Manufacture 45 46 PROGD T List of Suitable Lenses for PRO35 Which lenses can be used with the PRO35 and the Mini35 All standard film lenses with PL mount that project 35mm Academy format 22mm x 16mm Zeiss Master
14. ause of the fact that the human eye has a considerably larger horizontal field of vision than a vertical one a lot of films used already very early an analogous larger aspect ratio for achieving an impressively large screen projection Example Cinemascope Like this a different visual effect is produced for the viewer only because of the picture size P S TECHNIK Professional Cine Equipment Manufacture PROJO 4 Maintenance Generally the P S Technik Image Converter are designed to a maintenance free use on the shooting location But because of the number of mechanical components service is required from time to time This concerns especially the regular cleaning of the unit Like in classical film the cleaning at the shooting location is limited on keeping clean the opti cal unit which means the safety glass inside the Image Converter and the back lens of the system Please use only appropriate material for blowing out and use cleaner only in case of stubborn dirt Find detailed instructions regarding the cleaning in the separate service manual of the Image Converter P S Technik offers workshops for technicians which explain the service in detail Please contact info pstechnik de P S TECHNIK 33 Professional Cine Equipment Manufacture Maintenance 34 5 Technical Data Please find all details concerning techniques as well as detailed pin configuration of the connector and the circuit diagram in the separate
15. cessary in case of shorter exposure time Possible in case of long range lenses Necessary in case of short range lenses Possible in case of open aperture Necessary in case of dimmed or light weak lenses very quiet maybe louder operating noise IMPORTANT The adequate adjustment of the target speed has to be tested BEFORE shooting The evaluation should be done with a high quality monitor with a resolution ana logue to the camera s resolution Professional Cine Equipment Manufacture PROGD WHEN is it necessary to adjust the target speed In case of changing the camera In case of modification of exposure time frame rate In case of working under extreme circumstances e g low temperature How do I adjust the right target speed Tip 1 In order to achieve best results please follow these rules of thumb If possible work with open lens aperture A low depth of field reduces the risk of a visible target and leads to the desired typical look of the 35 mm film picture The second aperture or the optical filter is helpful for the correct exposure Use common exposure times like 1 48 s 1 50s and 1 60 s The shorter the exposure time the sharper the display on the target glass it reduces the motion blur We assume that a not visible target glass guarantees ideal results A lot of user use the target speed in a creative way and add to the picture intentionally grain e g by running the target in extremely slow spe
16. cond aperture of the PRO35 converter up to the MAXIMUM Light the surface until a luminance of 8096 on the Waveform monitor is reached Check the homogeneity of your illumination with the Waveform indication straight lines and eliminate stray light 2 Make a white fader Check this with the help of the Vectorscope if possible not coloured 3 On the monitor Set the controller for CHROMA on MAXIMUM and the controller for CONTRAST on as high as possible 4 f the adjustment of the colour shading is necessary you see a Onthe monitor a coloured sequence often cyan magenta green on the bottom red at the top b Atthe Vectorscope not a 100 uncoloured indication c Atthe Waveform monitor in the Parade display over VERTICAL inclined or parabolic amplitudes 5 Adjust with the help of the user manual of the camera manufacturer the parameters in the area of WHITE SHADING or automatically or manually V SAW and V PARA in every colour channel starting with green as long as a The Vectorscope shows clearly uncoloured increase if necessary the display b Atthe Waveform monitor in the Parade display over VERTICAL for every colour channel straight lines are displayed If necessary repeat these steps also in the HORIZONTAL display with the adjust ments H SAW and H PARA the terms can vary at different camera manufacturers 6 Save the adjustments like described in the manual of the camera manufacturer Ideally these modifications are
17. deo chip The target itself carries a structural pattern to visualize the image created by the front lens If the target is motionless this pattern is stamped on the image and appears like some kind of dirty on the lens In order to blur this structural pattern the target is set into an oscillating movement whereby the structural pattern appears in a film grain like manner The speed control now diversifies the target s oscillation frequency This provides the op portunity to eliminate disturbances or interferences caused by high shutter speeds or to achieve different grain effects also depending upon the iris opening of the front lens z Li 17 How to adjust the target s oscillation speed For information on the adjustment of the target s oscillation speed please consult chap ter 2 3 3 18 What is the iris in front of the B4 Mount of the Image Converter for The PROSB5 is equipped with an iris However this iris only serves to light reduction This offers the opportunity to shoot in bright environments with a wide opened front lens aperture in order to obtain a narrow depth of field without overexposing the video cameras CCD chip Therefore the Image Converter s iris is comparable to a variable ND function But there is no influence on depth of field because the light source relating to this iris is no three dimensional environment but the two dimensional image on the target which obtains just one focus plane That is why the depth of
18. dge plate 19 mm x 440 mm carbon fibre Pair of spare rods for bridge plate 19 mm x 240mm Pair of spare rods for bridge plate 19mm x 240 mm carbon fibre All products can be ordered from P S Technik in Munich or through our local dealers 12 P S TECHNIK Professional Cine Equipment Manufacture PROGD 4 19mm Heavy Duty Support for the PRO35 ARRI based setup The following table and drawings describe which articles are necessary for an ARRI based heavy duty support setup in order to use heavy lenses like zoom lenses or to connect 19mm heavy duty based accessories to your PRO35 setup Art No Description 16198 19570 18047 17995 19376 16245 16251 19545 18688 19544 Bridge plate for S16 N16 cameras BP 6 compatible incl 19 mm rods 440 mm or original BP 6 by ARRI Sony adapter plate SAP 3 replaces Sony quick release plate enabling inter face to BP 6 bridge plate Panasonic adapter plate PAP 2 enabling interface to BP 6 bridge plate Thomson adapter plate TAP 1 enabling interface to BP 6 bridge plate PRO35 support bridge for 19 mm rods without rods Pair of spare rods for bridge plate 19mm x 650mm Pair of spare rods for bridge plate 19mm x 440mm Pair of spare rods for bridge plate 19mm x 440 mm carbon fibre Pair of spare rods for bridge plate 19mm x 240mm Pair of spare rods for bridge plate 19mm x 240 mm carbon fibre All products can be ordered from P S Technik in Munich or throug
19. e Converter PROOD 1 2 Accessories and Spare Parts Art No 19004 14000 Description PRO35 PL Mount Image Converter for 2 3 B4 Mount camera incl light weight support 19186 power supply cable for lens connector PRO35 PL Mount Image Converter for 1 2 CCD cameras incl light weight support 19186 power supply cable for lens connector Lens Mounts for PRO35 20737 19940 19942 20468 22652 20902 BNC R Mount for PRO35 Panavision Mount for PRO35 Professional F Mount for PRO35 23504 Nikon Mount for PRO35 Canon EF Mount for PRO35 Canon FD Mount for PRO35 Contax Mount for PRO35 Support accessories by P S TECHNIK 19376 19710 19715 16251 19545 18688 19544 PROS support bridge for 19mm to 19 mm rods PROS support bridge for 19mm to 15mm rods PROS support bridge for 15 mm to 15mm rods Pair of rods for bridge plate 19 mm L 440 mm steel Pair of rods for bridge plate 19 mm L 440 mm carbon fiber Pair of rods for bridge plate 19 mm L 240 mm steel Pair of rods for bridge plate 19 mm L 240 mm carbon fiber P S TECHNIK Professional Cine Equipment Manufacture PROGD Cables and general accessories 22612 19142 19143 19144 19187 19188 20449 21067 21065 PROS power supply cable for Lens connector Hirose 12 pin Fischer 7 pin angled connector with twist protection MK II PRO35 power supply cable Anton Bauer 2 pin with twist protec
20. ed This is especially in case of high resolution or highly compressed shooting systems only after intensive tests advisable because the above named effect can influence the actually record ed picture in a negative way Results are often clearly visible compression artefacts in the recorded material This is only ONE of the possibilities of the adjustment a lot of users have surely developed their own way Tip 2 A practical alternative for adjusting the correct target speed especially for high resolution cameras is to synchronize the target with the electronically shutter of the camera Here the resulting artefacts are made visible first with the help of a high resolution monitor and then the ideal adjustment of the speed is worked out A maximum speed is NOT always ideal Similar to the adjustment of a running film camera to the flickering of a monitor ONLY a speed for the set exposure time frame rate is appropriate 1 Focus the camera on a constantly lit surface this can be for example grey or coloured Light preferably for a high aperture e g 16 22 do not overexpose 2 Check flange focal distance and exposure time Set the controller of the target speed on a low value and start the PRO35 3 Close the iris of the front lens until you can see movement artefacts between target and shutter on the monitor P S TECHNIK Professional Cine Equipment Manufacture 23 PRO3D 4 Increase the speed as long as the structure
21. er It is a grinded optical glass similar to a ground glass used in viewfinder systems of film cameras The image drafted by the film lens is projected onto this target and in a second step captured by the CCD chip of your video camera In order to blur the target s structural pattern it is set into an oscillati on movement What kind of target ground glass is used in the PRO35 The target used in the PRO35 is a specially grinded optical glass that minimizes light loss Can I edit the same way Yes You can edit the same way you are used to Is there a light loss using the PRO35 Yes for the PRO35 you can assume a light loss of 1 5 stops Since the light loss is not linear this is the worst case value How do I get started Since shooting with the PRO35 is similar to shooting with film we recommend to test the complete setup in detail in order to familiarize with your Image Converter and its specific features Is it possible to start shooting with the PRO35 right away Yes this is possible but since shooting with the PRO35 is similar to shooting with film we recommend to test the complete setup in detail in order to familiarize with your new Image Converter and its specific features Please mind the necessity of Back focus and Colour Shading adjustment P S TECHNIK Professional Cine Equipment Manufacture 35 14 Do I need a power supply for the PRO35 Yes you need a power supply to run the motor of the PRO35 fo
22. f your camera in order to control exposure please consider that the visibility of the target s structural pattern changes and might cause disturbance or interferences in your image What is to be considered when shooting with variable frame rates i e Panasonic Varicam When decreasing the shutter speed of your camera in order to shoot at variable higher frame rates please consider that the visibility of the target s structural pattern changes and might cause disturbance or interferences in your image By adjusting the target s speed control it is possible to eliminate these interferences Why is it not recommended to adjust exposure by stopping down the front lens aperture There are different reasons 1 The higher the T stop T4 0 or higher i e T1 1 the more apparent the grain effect will be The other way around the lower the T stop T4 0 or lower i e T1 2 the less appa rent the grain effect will be 2 When closing the front lens aperture more than about 2 5 stops the depth of field is comparable to a normal video lens In this case it makes no sense shooting with the PRO35 and film lenses In order to control exposure it is more advantageous to use the Image Converter s or the camera s ND function When testing different shutter speeds I realised that at 1 100 sec the structu ral pattern of the target becomes apparent Which shutter speed do you re commend We recommend to use standard shutter speeds with the cu
23. field isn t influenced by the Image Converter s iris In summary For a camera setup with the PRO35 Image Converter the aperture of the P S TECHNIK 39 Professional Cine Equipment Manufacture PROJO 19 20 21 22 23 40 front lens serves to adjust the images depth of field the iris of the Image Converter only serves to adjust exposure How does the user adjusts the exposure without affecting the depth of field In order to control exposure i e when light is too intense like in bright daylight without affecting the depth of field we recommend to use the iris of the Image Converter If this ND function is insufficient and the image remains overexposed closing the film lens iris may not offer the required limited depth of field or may project too much grain on the video image Two possible remedies 1 Use the ND function of your video camera or 2 Use a ND filter in front of the film photo lens to decrease the light entering the system We do not recommend to increase the shutter speed of the camera in order to control exposure In this case please consider that the visibility of the targe ts structural pattern changes and might cause disturbance or interferences in your image Although it s possi ble to eliminate these interferences by adjusting the speed control of the target Is it possible to adjust exposure by the camera s shutter speed What is to be considered in this case When decreasing the shutter speed o
24. film look because of a lower motion resolution 24 25 Hz Compression Unfortunately the recording quality is highly dependent on the format of recording A lot of today s used data compression programs are for example highly sensitive to noise or quickly changing picture contents While recording do not only trust your picture on the monitor it Shows often the uncompressed signal but test how the recorded signal is behaving in different recording situations see also TARGET SPEED above P S TECHNIK 3 Professional Cine Equipment Manufacture Tips and General instructions PRO3D 32 Depth of field Like the human eye has a selective perception also filmmakers and cinematographers use the depth of field for calling the attention of the viewer to specific things or also to detract from something At the same time the effective size of the picture plays an important part The larger it is the lower is the depth of field small amateur cameras work often with very small sensors and that s why their picture comes across as unnaturally sharp The P S Technik Image Converter allow now the identical depth of field like in 35 mm film on an electronic camera with a considerably smaller size of the sensor Choice of lens The choice of lens is especially in combination with high resolution cameras clearly visible Therefore test the lenses before shooting See a list with applicable lenses in the annex Aspect ratio Bec
25. ge configuration The image drafted by the film lens is projected onto an oscillating ground glass called target This target is in the same posi tion as the film plane in a 35 mm film camera For this reason the scale of reproduction as well as depth of field and angle of view show the film like quality similar to a 35mm film camera In a second step this real image is resized and projected onto the CCD video chip Since this is just a linear squeeze of a two dimensional image all optical characteristics like depth of field and angle of view stay the same This means that the video chip is not the place of image creation this is the target but of image recording z Li What do I basically need for a complete PRO35 Image Converter solution The PRO35 is delivered by default with a Sony B4 Mount camera sided a ARRI PL Mount lens sided and a light weight support system Therefore you just need the PRO35 Image Converter for a complete PRO35 solution We explicitly recommend the use of a remote switch in order to guarantee an easily op erated start and stop of both camera and Image Converter simultaneous Correspond ing switches are available from P S Technik ARRI and other suppliers What are the additional accessories you offer Additional accessories like different lens mounts heavy duty support system 19 mm and plenty of power supply cables are available Which cameras work together with the PRO35 All 2 3 B4 Mount
26. h our local dealers P S TECHNIK 13 Professional Cine Equipment Manufacture PRO35 Image Converter a PROJO 1 3 General Overview 14 8 INPUT power connection REMOTE connector Return button Image Plane Line and Tape Hook Control LED GREEN Good speed control RED acceptable low speed BLINKING ERROR below minimum speed Speed Control wheel Manual RUN NS Does NOT start the shooting Lever for back focus Iris diaphragm ND Function adjustable ND Filter Bottom 3 8 inch thread for Light weight support 15 mm Lightweight Support 3 8 inch thread for bridge plate support 19 mm Heavy Duty Support P S TECHNIK Professional Cine Equipment Manufacture PRO 2 1 Mounting the Image Converter The following steps explain how to attach the PRO35 properly to your camera Instruction Explanatory Notes 1 Make sure that the quick lock plate holder for the 15mm lightweight support is assembled to the bottom of the camera as shown in the photo 2 Assemble the support bridge delivered with the PROS on the quick lock plate as shown in the photo 3 Assemble the PROS35 3 1 Attach the post to the bottom of the PRO35 i unit vu E Leveler 3 2 Lower the support for easier installation lever e 0 shown as Screw A in photo TTD 3 3 Loosen two screws on either side of Screw B in photo Like this the bridge can be adjusted if ne
27. he chip compared to a prime lens The loss of light can be handled by opening the lens s iris or putting up more light sources We recommend to use prime lenses because you always have to keep in mind that there s a light loss of 1 5 stops with the PRO35 The faster the lens the more light is left for exposure Over and above a wide opened aperture creates a smaller depth of field What focal length will we get using Nikkor 15 mm It will be also 15mm But please Ts The angle of view will change in comparison to 35 mm still photography Regarding stills lenses does any of the manufacturers you support provide sets of prime lenses or do they all tend to go for the zoom lenses They do both zoom lenses and prime lenses But Nikon seems to be the only manufac turer that still produces photo lenses with real mechanic focus adjustment Other lenses are manufactured with auto focus function which is of no use with our products But it is possible to find used prime lens sets in very good condition of Canon and other lens manufacturers Will we have aberration of the image or any problems with black edges vignetting No if you use recommended lenses you won t have any such problems If you use other lenses please test them before shooting Is it possible to use a PRO35 between a complete series of Nikon 35 mm photo lenses 20 28 35 50 80 180 mm and a Sony HDCAM 750 Yes this is possible P S TECHNIK Professional Cine Equipment Manuf
28. ing Different than on film cameras the flange focal dis tance is NOT given respectively or is different in dependency from several factors The PRO35 offers naturally the possibility to adjust the flange focal distance Therefore it can be used on every camera with adequate Bayonet Mount When is an adjustment of the camera side flange focal distance back focus necessary In case of changing the camera In case of variation of temperature 10 C In case of high mechanical load onto the mount of the camera heavy zoom lens or similar After transportation of the unit respectively other heavy agitation Professional Cine Equipment Manufacture PROGD a How can the back focus be controlled and adjusted 1 Adjusting back focus in preparation test room Check if the actually measured distance on the lens leads to a correct visual sharpness Beispiel Place the test chart precise 3m or another exact calibrated distance at the lens distant from the image plane and adjust the measured distance at the lens Check the result on a high resolution monitor Instruction Mount a film lens to the Image Converter Explanatory Notes Select a mid range film lens around 50mm 2 1 2 2 2 3 2 4 Place a focus chart at a reasonable distance and set the focus of the film lens at that distance Turn the Image Converter ON Open the adjustable ND FILTER to Position 0 Close the iris of the film lens to around T
29. length of your photo lenses is not affected by the PRO35 Stills Photographers Compared to still photography the angle of view changes gets smaller Cinematographers If you are used to shoot on film lenses you can handle a photo lens the same way like a film lens l e on the PRO35 the angle of view as well as the focal length and depth of field of a 50 mm photo lens is the same as of a 50 mm film lens Differences remain in order to the handling i e focus P S TECHNIK 43 Professional Cine Equipment Manufacture PROJO 39 40 41 42 43 44 44 How can translate focal length for PRO35 in order to achieve similar angles of view compared to 35 mm film still photography and 2 3 video In order to achieve same angles of view with the PRO35 please use the following factors starting from 2 3 video 4 3 Standard lens 13mm Factor 2 4 N35 film 4 3 Standard lens 32 mm Factor 1 9 3 video 1 1 78 Standard lens 11mm Factor 2 3 N35 film 1 1 78 Standard lens 25 mm Factor 1 Stills Photography full format Standard lens 48 mm Factor 0 67 Please 5 The standard focal lengths are based on a vertical visual angle of 28 Is there a disadvantage between shooting with zoom lenses and shooting with prime lenses regarding the lens speed Yes the disadvantage is the speed of the different lens types Due to the optical design of zoom lenses you usually get less light through a zoom lens to t
30. les can should normally NOT be transferred from one camera to another and have to be adjusted individually for each camera Many camera manufacturers offer an automatic colour shading alignment also the creation of lens files is described in the camera manuals Exception If you are recording on a system based on raw data or if you want to use for example the Filmstream process of the Thomson VIPER camera there are often no more possibilities of adjusting the shading in the cameras In this case any adjustment of the shot pictures can be made in the post production There exist often appropriate tools for the adjustment As the case may be it can be helpful to do some shots of white surfaces before the shooting in order to create masks for the adjustment in the postproduction P S TECHNIK 2 Professional Cine Equipment Manufacture PROJO The following instruction can only be seen as a guideline Please check the user manual of the used camera P S Technik does not issue guarantee for the correctness of the following information and assumes experience in the adjustment of cameras Equipment White homogeneous surface ideally use the so called llluminator or a Ulbricht bowl Waveform monitor Vectorscope or Oscilloscope depends on type of camera HD SD High resolution monitor depends on type of camera HD SD 1 Point your camera on a equally lit WHITE surface Open the aperture of the film lens and the se
31. ment of the image position possible side inverted projection of the lens on the target Therefore also old cameras can be used unlimited with the Image Converter the image is always projected correctly 4 Adjustment lenses and second iris diaphragm the rear part of the converter includes an intermediate lens which scales down the 35 mm image projected on the target to the size of the camera s CCD 2 3 or 1 2 and corrects the light beam for the three focal planes red green and blue of the video cameras Apart from this the intermediate lens includes the back focus adjustment ring see chapter above and the second iris diaphragm see chapter above Naturally lenses NEVER work without loss of light Also the optical system inside the three chip camera prism is often limited to maximum F1 4 Approximately 1 aperture is lost be cause of the projection of the picture onto the target glass and the other optical components The maximum aperture of the lens used has to be considered as well Therefore check BE FORE shooting the loss of light resulting from your precise configuration of lens and camera Professional Cine Equipment Manufacture PROJO 2 4 Adjusting the Camera Every lens has its own individual optical characteristics This applies to all film photo and vid eo lenses The modern electronic camera is preset ex factory for the established video lenses Strictly speaking for every used lens on the camera there should be
32. older for the 15 mm rods is required on the camera side This holder is offered by both Chrosziel and ARRI and can be purchased directly from P S Technik By default the PROS35 Image Converter is delivered with a 15 mm light weight support sy stem including a support bridge 3 and four 15 mm rods 4 It stabilizes the PRO35 setup and 15mm accessories can be attached IMPORTANT In order to connect the light weight support to your video camera you need a holder plate for 15 mm rods on camera side which is prepared for light weight support con nection This holder is possible to purchase directly from P S Technik Art No Description Holder Plate from ARRI or Chrosziel The ARRI light weight support for video cameras is based on the LWS 4 Light weight supports for Sony Ikegami JVC Hitachi Philips Thomson availa ble Quicklock plate has to be compatible to your base plate Support bridge comes with the PRO35 19004 Four 15mm rods come with the PRO35 75 mm two times for the support of the Image converter and 240 mm two times for additional movie accessories 19004 19004 PROS5 Image Converter All products can be ordered by P S Technik in Munich or through our local dealers Professional Cine Equipment Manufacture PROGD 2 Light Weight Support for the PRO35 Image Converter ARRI based The following accessories are based on the ARRI LWS 4 and ARRI light weight adapter plates for the SONY PANASON
33. on shutter speed result for film cameras result normally from the frame rate This is mostly 1 48s 1 50s or 1 60s some applications request a shorter exposure time Electronic cameras work generally in the same manner but the consolidation between frame rate and exposure time is not as steep This means at for example 60 frames per second there is also a longer exposure time possible up to 360 degrees Hell sector 1 60s Motion blur One characteristic of the so called film look is the motion blur Low frame rate long exposure time lead to a higher motion blur compared to television benefit from this creative tool Shutter effect strobing Is your pan jerky Probably your pan velocity is not adjusted to your frame rate and your motion blur Check the pan velocity against the focal distance e g in the manual of the ASC American Society of Cinematographers Also newer monitors show the pictures often jerky Chose your equipment accordingly to your reporting TV cinema and your method of recording interlaced progressive Method of recording INTERLACED is still a widespread method for increasing the motion resolution 50 60 Hz Use this method creatively e g for a later slow motion Example convert 50 60 Hz interlaced to 50 60 Hz progressive afterwards rendering with 24 25 frames s De interlaced is often used for the print out PROGRESSIVE is used for printing out the material this is often more close to the
34. r the oscillation of the target The PROS5 is delivered by default with a power supply cable for the lens con nector Hirose 12 pin Fischer 7 pin on the camera This allows you to use the same battery for the PROS you run your camera with Over and above plenty of alternative power supply cables are available to use different power and battery systems i e with Anton Bauer Digibeta Hirose or XLR connectors For further information please refer to our Price list 15 Why is there an ON Off switch on the PRO35 Image Converter As specified in FAO How does the PRO work the image generated by the 35 mm front lens is projected in a first step onto a ground glass like target In a second step this image is resized by a relay lens system to the smaller sized video chip The target itself carries a structural pattern to visualize the image created by the front lens If the target is motionless this pattern is stamped on the image and appears like some kind of dirt on the lens In order to blur this structural pattern the Image Converter has to be switched on The target starts oscillating whereby the structural pattern appears in a film grain like manner 16 Why is there a speed control on the PRO35 Image Converter As specified in FAO how does the PRO work the image generated by the 35 mm front lens is projected in a first step onto a ground glass like target In a second step this image is resized by a relay lens system to the smaller sized vi
35. r to control exposure i e when light is too intense like in bright daylight without affecting the depth of field we recommend to use the Image Converter s iris 26 What is the highest aperture stop I can use without getting grain from the target We recommend to avoid stopping down the front lens aperture further than T4 0 27 have got a colour gradient from top to bottom in my video image What is it and what shall do This is so called colour shading a gradual shift of the colour in upright direction due to a mismatch of the lens system and the electronic system of the camera To get further information on this phenomenon and how to eliminate it please refer to chapter 2 4 1 28 The distances engraved on the film lens s focus ring do not match to the mea sured distances to focused objects Is it due to a back focus displacement Yes You have to adjust the back focus at the Image Converter 29 How do I create a clean image For creation of a clean image please consider the following items Back focus adjustment Colour Shading adjustment adjust the target s oscillation speed control the camera s shutter speed do not stop down the front lens further than T4 0 Try setting the camera to manual mode and limit the gain to O db or even 3 db P S TECHNIK 4 Professional Cine Equipment Manufacture z Li PROJO 30 31 32 33 42 Which support systems am supposed to use with the PRO35 b
36. rrent version of the PRO35 P S TECHNIK Professional Cine Equipment Manufacture PROGD 24 When stopping down the aperture of the front lens at T4 0 or further the struc tural pattern of the target becomes apparent How can avoid this pattern to appear on my imagery In order to control exposure i e when light is too intense like in bright daylight without affecting the depth of field we recommend to use the iris of the Image Converter If this ND function is insufficient and the image remains overexposed closing the film lens iris may not offer the required limited depth of field or may project too much grain on the video image Two possible remedies 1 Use the ND filter of your video camera or 2 Use a ND filter in front of the film photo lens to decrease the light entering the system We do not recommend to increase the shutter speed of the camera in order to control exposure In this case please consider that the visibility of the target s structural pattern changes and might cause disturbance or interferences in your image Although is possi ble to eliminate these interferences by adjusting the speed control of the target 25 Is it possible to use the whole tolerance of the film lens aperture together with the PRO35 We advise not to use the whole tolerance of the film lens aperture together with the PRO35 Stopping down the aperture of the front lens at T4 0 or further unveils the struc tural pattern of the target In orde
37. rter does NOT start automatically after changing battery or switching on off the camera this is not a failure but it saves electricity and incre ases the lifetime of the mechanical components of the unit Check BEFORE shooting whether the Image Converter a is already running manual start or b is started automatically with the camera Tip Start the shooting AND the Image Converter A SAVELY with an external start stop switch e g with the P S Technik RS switch 20449 or other compatible switches Hence you can almost screen out that the Image Converter is not running during recording The utilization of the RS switch makes a simultane ous starting of PRO35 and camera possible P S TECHNIK 17 Professional Cine Equipment Manufacture PROJO 2 3 2 Flange focal distance and Back focus There are two lens mounts on the PRO35 Image Converter on the lens side PL Mount Nikon and on the camera side Bayonet Mount Hence there are two possibilities to ad just the flange focal distance 1 The lens mount for the film and photo lenses on the front of the Image Converter has a preset flange focal distance identical to film cameras The flange focal distance on the lens mount front can be adjusted or collimated with an inferior flange or on a collimator see also Service Manual for the PRO35 Image Con verter 2 The camera side Bayonet Mount of the PRO35 can be adjusted with the back focus Screw Back Focus R
38. service manual of the Image Converter PRO35 Camera Mount Image Converter for camera 2 3 Version PROGD a 1 2 Version Sony Bayonet Mount PRO35 Lens Mount Image Converter for camera Setting of the Image Converter Technical Data upstanding emulsion side up upstanding emulsion side up PRO35 aperture behind the lens integrated for reducing light no effect on depth of field integrated for reducing light no effect on depth of field over lens connector cable included in delivery over lens connector cable included in delivery Image target frequency eccentric P S TECHNIK Professional Cine Equipment Manufacture 36 6 FAQ 1 PROGD a Do I have to send my camera to P S Technik to do some mechanical or elec tronic changes before I can use the PRO35 Image Converter No there is no need for any modifications therefore there is no need to send the camera to us How does the PRO35 work The basic principle The PRO35 achieves a mechanical and optical adaptation of 35mm film lenses to any commercially available 2 3 broadcast video camera Standard and High Definition with a Sony B4 Mount How does the PRO35 works The chip size image field of your 2 3 camera is ar tificially enlarged by an intermediate projection therefore transferring the 35 mm lens characteristics e g angle of view and depth of field to the video camera The deciding point is the two sta
39. the lens I m using change No the focal length of the lens does not change It stays the same 37 Is the angle of view of the film lenses I m using affected by the Image Converter Neither the focus length nor the angle of view is affected by your Image Converter For all 35 mm film lenses the image properties comply with the properties of a N35 film camera For further understanding In principle every 35 mm film lens draws a round image onto the film gate of a film camera most 35 mm film lenses draw an image diameter of 30 mm in order to expose S35 formats as well as N35 formats although a diameter of 272mm suffices to expose the N35 formats This film gate or an accordant format mask cuts out the framing as desired For the PRO35 it s nearly the same The fore part of the Image Converter is designed simular to a N35 film camera The film lens draws a round image onto the Image Converter s target which is in the same position as the film stock in a film camera In a second step a 27 2 mm image circle remember this is satisfactory for N35 formats is then squeezed to the diameter dia gonal 11 mm of the 2 3 CCD chip The CCD chip then serves as a quasi format mask and cuts out the framing according to the CCDs size In conclusion it is to say that the CCD chip defines what is recorded by the video camera z Li 38 Is the focal length or the angle of view of the photo lenses I m using affected by the Image Converter The focal
40. tion MKII PRO35 power supply cable Digibeta Hirose 4 pin with twist protection MKII PRO35 power supply cable XLR 4 pin with twist protection MKII PRO35 power supply cable XLR 5 pin with twist protection MKII PRO35 power supply cable open end with twist protection MKII RS switch ON OFF to use with MINI35 and PRO35 RS switch holder complete incl RS switch holder Cmotion fastener RS extension cable 0 8 m RS extension cable 0 8m Support systems for use with the PRO35 Image Converter There are four possible solutions explained in the following 1 15 mm light weight support by default delivered with the PRO35 for use with normal prime lenses for attachment of 15 mm light weight accessories 15 mm light weigth support ARRI based 19 mm heavy duty support Chrosziel based for use with heavy lenses i e zoom lenses for attachment of 19 mm movie accessories 19 mm heavy duty support ARRI based for use with heavy lenses i e zoom lenses for attachment of 19 mm accessories Support bridges to adapt from 19 mm ligth weigth support to 15 mm heavy duty support are available as well 19710 PROS support bridge for 19mm to 15mm rods 19715 PROS support bridge for 15 mm to 15mm rods P S TECHNIK Professional Cine Equipment Manufacture 9 PRO35 Image Converter A PRO3D 1 15mm Light weight Support for the PRO35 The 15mm support bridge and rods are included in the delivery A h
41. video cameras Standard Definition amp High Definition work together with the PRO35 Which lens mounts are available for the PRO35 The following lens mounts are available for the PRO35 Professional F Mount for PRO35 Nikon F Mount for PRO35 Canon EF Mount for PRO35 Canon FD Mount for PRO35 BNC R Mount for PRO35 P S TECHNIK 37 Professional Cine Equipment Manufacture PROJO 10 11 12 13 38 Panavision Mount for PRO35 Contax Mount for PRO35 Please XS The PRO35 mounts are not designed for quick change like the ones for the MINI35 are Especially after assembling a film lens mount to the PRO35 an adjustment on a collimator is necessary What does the image the PRO35 creates look like Basically the PRO35 makes a limited depth of field possible for 2 3 video cameras as up to now it was applicable only in connection with 35 mm film Thereby the PRO35 en ables film makers to use limited depth of field as another creative instrument for shooting on video At the same time the targets structural pattern affects the image comparably to a light soft focus and low contrast filter and adds a film grain like effect to it In contrast to a textbook perfect hard and clean digital video the PRO35 generates images appea ring more lively and softer Altogether the look and feel is similar to the imagery you are used to from 35 mm film What is meant by target The target is the core of the Image Convert
42. with the PRO35 Zeiss Master Primes Zeiss HS Primes Cook S4 Zeiss Ultra Primes You always have to keep in mind that you have a light loss of 1 5 stops with the PRO35 The faster the lens the more light is left for exposure Over and above a wide opened front aperture creates a smaller depth of field P S TECHNIK Professional Cine Equipment Manufacture PROGD 34 Is it true that I have to use High Speed Prime lenses with the PRO35 and not the Standard Speeds No it is not true that you have to use Zeiss High Speed primes The advantage of the HS lenses is the fact that with a T 1 3 the HS lenses have a bigger aperture and ac cordingly a smaller depth of field than standard speed lenses Although you can use other lenses i e Ultra Primes or photo lenses It is important to check each lens before shooting because you never know what could happen That is what camera assistants do before shooting with film cameras and it should be the same before shooting with a PRO35 and film or photo lenses 35 Is it possible to use 16mm film lenses with the PRO35 The PRO35 is developed for the use with 35 mm film lenses that expose the whole N35 Academy format Since 16mm lenses are styled for smaller frame sizes vignetting problems may occur As a rough guide 16mm lenses whose rear lens is as large as a one Euro coin should work But if you decide to use 16mm lenses please test it before shooting 36 Does the focal length of
43. y default the PRO35 is delivered with a 15 mm light weight support system including the required support bridge and two 15mm rods Please Ts to connect this leight weight support system to your 2 3 video camera you need a bottom plate prepared for light weight support for heavy duty support with the PRO35 please refer to chapter 1 2 page 8 following Why do need a support system In order to stabilize your setup and take weight of the video camera s B4 mount offers the possibility to connect accessories like matte box or follow focus to your PRO35 setup Which lenses can be used together with the PRO35 You can use all available film lenses with PL Mount able to expose the N35 Academy format 22mm x 16mm Zeiss Master Primes T1 3 Zeiss Ultra Primes T1 9 T2 8 Zeiss Super Speed Lenses T1 3 Cook S4 Cook S4 Zoom T2 15 40 mm Cook Zoom T3 18m 100 mm Angenieux Optimo Zooms Zeiss Distagon focal length 85 mm or more Zoom lenses and Zeiss Distagon lenses might cause vignetting These lenses should be tested before shooting individually Furthermore the following lens mounts are available and can be used with the correspon ding lenses Professional F Mount for PRO35 Nikon F Mount for PRO35 Canon EF Mount for PRO35 Canon FD Mount for PRO35 BNC R Mount for PRO35 Panavision Mount for PRO35 Contax Mount for PRO35 Which lenses do you recommend to use and why The following lenses work perfectly
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