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Author Topic: Anyone using a Sinar P3?  (Read 12433 times)
Paul Barker
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« on: November 05, 2006, 11:19:17 AM »
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I want to get some movements back in my life. Using these smaller backs is certainly trickier than good old 5x4 when it comes to composition and focus. So thinking/wondering how good the P+ backs will be with their live preview.

I've had a play with an Arca M 6x9, nice camera, but all having spent more years than I care to remember with Ps, I was all fingers and thumbs with the controls. So just wondered if anyone has any thing good or bad to say about the P3?
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Morgan_Moore
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« Reply #1 on: November 05, 2006, 01:46:47 PM »
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You can get an idea of price here.. (bad ??)

[a href=\"http://www.lastraimaging.co.uk/comersus/store/comersus_listCategoriesAndProducts.asp?idCategory=98]http://www.lastraimaging.co.uk/comersus/st...p?idCategory=98[/url]

Good ?

Will probably integrate well with HY6

Bad?

looks too small to make big stitched files
(where you move the chip keeping the lense still)

Competittion..

Rollei xact I think uses same lenses as rolei/hy6 stopping focal length duplication and offering similar high level automation where as sinar seems to require double lense purchases (I am not clewar on this)

Comment
For lenses down to 47 you can use a P2 for a fraction of the price (hige gear movements=more inconvienient)

For wider lenses more convienience (but no tilt) Alpa ect simpler faster and more solid

Just some thoughts (I own a P2)

SMM
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Sam Morgan Moore Cornwall
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Paul Barker
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« Reply #2 on: November 05, 2006, 03:40:08 PM »
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Thanks for the thoughts Sam.

I know the price, which is typical for Sinar.

I did think about a P2 and have my eye on one. I also know of a P1 stitching back going, which would be a cheaper alternative. I believe the gearing is finer on the 3 so better for the smaller frame and the smaller standards can get closer together when you have swings and tilts on. I never had any problems with the nylon gears of P2s in the past but I believe some of the gearing is now metal, so harder wearing/less trouble.

The sliding backs usually create depth to the camera, so a problem for WA however, really want it for studio and longer focal lengths. Using the ground glass for viewing the bigger image area would be better but I don't really need more resolution and don't want to bother with the stitching.

Not really had a look at the XAct2. I believe the latest version has been reworked by Horseman but I think the movements are still limited. I am certainly interested in the Hy6 and I believe you can use the  Rollei lenses on the XAct2 but I was expecting to buy new lenses anyway.

Someone told me the sliding back on the Linhof gets in the way of some controls. As I would like to use the live preview for composing, this may no longer be a problem, so might have a look at that again. This assumes the Live preview will be useable...
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Christopher Arnoldi
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« Reply #3 on: November 05, 2006, 03:58:15 PM »
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I own the Sinar p3 and for me it's the best camera for use with digital backs, more better when you stay in the system and use a sinar back (I use the SB 54H) and the liquid cristal shutter for live preview.

I created a 6 times stitched interieur shot with the Schneider Superangulon XL 47 mm (with the wide angle bellow) with the same angle as my Schneider Apodigitar XL 24 mm with 11340 x 7875 uninterpolated pixels. It has been printed in 3,60 m x 2,50 m in a perfect quality.

I tested the Linhof 679 and could not say that its gear drives are better than those of the p3. The advantage of the p3 is, that the gear drives are self-arresting, not so at the Linhof.

When you use lenses with the CMV shutters it's a very fast and comfortable way of shooting.

It's a perfect camera to create selective unsharpness, what is not possible with the Alpa. With the live preview you can adjust the picture live on the laptop in a very large size without the restriction of a fresnel lens: the live image has the same brightness in the edges as in the center.

The best new thing from sinar is the geared bank holder. Now you can align the camera absolutely perfect to the vertical or turn it ca. 90° left and ca. 45° right.

To the p2 I must say that the tilt and swing axis is not in the right position when you use it with a digital back. That was the reason for me to buy a p3. In the live preview of the Sinarback on p3 you see the tilt and swing axis and they are in the right position. Why do you want to use a view camera when you don't have this comfort? With a sliding adapter and ground glass the back isn't in the right position, too.
« Last Edit: November 05, 2006, 04:10:22 PM by Christopher Arnoldi » Logged
Morgan_Moore
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« Reply #4 on: November 05, 2006, 04:15:50 PM »
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I did think about a P2 and have my eye on one. I also know of a P1 stitching back going

The sliding backs usually create depth to the camera, so a problem for WA however, really want it for studio and longer focal lengths. Using the ground glass for viewing the bigger image area would be better but I don't really need more resolution and don't want to bother with the stitching.

Hy6 and I believe you can use the  Rollei lenses on the XAct2 but I was expecting to buy new lenses anyway.


[a href=\"index.php?act=findpost&pid=83729\"][{POST_SNAPBACK}][/a]

For table top work I get on fine with the P2 and P1SBA (shooting tethered to judge composition) the movements are OK if a bit sloppy - ground glass is for basic composition only IMO

For wide work in the field with the 47 it is too much of a pain for me esp with a copal shutter released lense trying to see a laptop in the sun etc

My point about the Xact and Hy6 is I think the one set of lenses will fit both - buying a new set of lenses is one thing - buying two news sets quite another - I am not sure that they are compatable but I think so

In terms of the six frame stitch with a P3 I am confused about how this is possible - the 47 lense has only the image circle to cover 2-3 frames worth dependant on other movements(rise/fall)- I am talking flat stitching not spining the camera which can be done fine with a 50 1.8 on a eos5d (!)

I am sure the P3 rocks if the price is right for you esp if you are going the whole hog with the system lenses live view etc
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Sam Morgan Moore Cornwall
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Christopher Arnoldi
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« Reply #5 on: November 05, 2006, 05:00:47 PM »
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In terms of the six frame stitch with a P3 I am confused about how this is possible - the 47 lense has only the image circle to cover 2-3 frames worth dependant on other movements(rise/fall)- I am talking flat stitching not spining the camera which can be done fine with a 50 1.8 on a eos5d (!)
[a href=\"index.php?act=findpost&pid=83735\"][{POST_SNAPBACK}][/a]

The 6 frames overlapped very much. The back resolution is 5440 x 4080 pixel, the image was 11340 x 7845. I took 1 frame at -2cm down/-3 cm left, 1 frame -2 cm down/ 0 cm, 1 frame -2cm down/+3cm right, 1 frame +2cm rise/-3 cm left, 1 frame +2 cm rise/0 cm, 1 frame +2cm rise/+3cm right. For every frame I took a separate sensor reference with the white plexiglass.

The 47 XL covered a 4x5" dia, so there is enough space for wide movements.
« Last Edit: November 05, 2006, 05:03:09 PM by Christopher Arnoldi » Logged
Eric Zepeda
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« Reply #6 on: November 05, 2006, 05:59:30 PM »
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The 47 XL covered a 4x5" dia, so there is enough space for wide movements.
[a href=\"index.php?act=findpost&pid=83739\"][{POST_SNAPBACK}][/a]

Christopher, I take it then that this is a regular 47xl, as opposed to a Digitar? Is this a setup you use regularly for interior work?

I ask because I have a P rear standard and a stitching back for my Sinar F1, but have pretty much abandoned this setup for interior work, going with the Cambo WDS instead as I find it a much quicker and sharper setup. Still, since I have a full range of film view lenses, including the 58 and 72xl's I'm always curious what others are doing.

Best,

Eric
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Christopher Arnoldi
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« Reply #7 on: November 05, 2006, 06:17:17 PM »
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Oh sorry, I did not write that the 47 XL is not the Digitar. Normaly I use my Digitar XL 24 mm, but in this special situation, when the client needed a 3,60 m x 2,50 m print, I made 2 shots, one stitched with the 47 XL and one normal with the 24 XL. Then I interpolated the one with the 24 XL and decided, that the picture from the 47 XL was better.

From my non-digitar-lenses the 47 XL is really the sharpest and best (over a Sinaron W 90 mm, a Schneider Super-Symmar XL 150 mm and a Rodenstock Apo-Sironar S 240 mm). I want to buy a Rodenstock 35 HR and a 60 HR in the next time, but at the moment I must use the 47 XL.
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rainer_v
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« Reply #8 on: November 06, 2006, 02:05:00 AM »
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Oh sorry, I did not write that the 47 XL is not the Digitar. Normaly I use my Digitar XL 24 mm, but in this special situation, when the client needed a 3,60 m x 2,50 m print, I made 2 shots, one stitched with the 47 XL and one normal with the 24 XL. Then I interpolated the one with the 24 XL and decided, that the picture from the 47 XL was better.

From my non-digitar-lenses the 47 XL is really the sharpest and best (over a Sinaron W 90 mm, a Schneider Super-Symmar XL 150 mm and a Rodenstock Apo-Sironar S 240 mm). I want to buy a Rodenstock 35 HR and a 60 HR in the next time, but at the moment I must use the 47 XL.
[a href=\"index.php?act=findpost&pid=83744\"][{POST_SNAPBACK}][/a]

mabee you could also try the 28HR. i am extremely pleased by that lense,- cause it has more movement than it seems. the image circle ib their datasheet is very conservative. the 28hr  and the 35hr allow you to move 10-12mm horizontal/vertikal,- the 60HR around 15-17mm.

interesting that the 47xl is so sharp even if moved.
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rainer viertlböck
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yaya
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« Reply #9 on: November 06, 2006, 06:49:51 AM »
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I want to get some movements back in my life. Using these smaller backs is certainly trickier than good old 5x4 when it comes to composition and focus. So thinking/wondering how good the P+ backs will be with their live preview.

I've had a play with an Arca M 6x9, nice camera, but all having spent more years than I care to remember with Ps, I was all fingers and thumbs with the controls. So just wondered if anyone has any thing good or bad to say about the P3?
[a href=\"index.php?act=findpost&pid=83709\"][{POST_SNAPBACK}][/a]

Paul one thing you should be aware of: the P3 originally was intended to be used with Sinar backs only (first the 43/ 44 then the 54H and the the eMotion), so it is best used with these backs and the Sinar (Rodenstock) lenses (sync contacts running through the bellows etc.)

The standards are quite small therefore to fit a recessed lens board with a wide lens in a copal shutter can be tricky.

You need to check with Lastra or Sinar on whether they can still supply an adapter plate for other backs (it does exisit but it is expensive). As far as I know there is no sliding back for this camera.

Yair
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khwanaon
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« Reply #10 on: November 06, 2006, 07:53:49 AM »
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Paul one thing you should be aware of: the P3 originally was intended to be used with Sinar backs only (first the 43/ 44 then the 54H and the the eMotion), so it is best used with these backs and the Sinar (Rodenstock) lenses (sync contacts running through the bellows etc.)

The standards are quite small therefore to fit a recessed lens board with a wide lens in a copal shutter can be tricky.

You need to check with Lastra or Sinar on whether they can still supply an adapter plate for other backs (it does exisit but it is expensive). As far as I know there is no sliding back for this camera.

Yair
[a href=\"index.php?act=findpost&pid=83788\"][{POST_SNAPBACK}][/a]

to complete Yaya's information about the sinar p3 camera:

- the p3 can be mounted with other backs than Sinarbacks, by using the Hasselblad V adapter plate on the back. Means you nee either to have a back with this Hassi V adapter or then change it. It is an open system.
- the back can then be mounted on the Sinar sliding adapter which features a groundglass for focussing and the sliding possibility to bring the back in position. this sliding adapter is fitted with the counter part Hassi V adaption to accept your back with Hassi V adapter.
- it is possible to use Copal lenses up (down) to 28mm (e.g. 28 HR), together with the wide-angle bellow.
- All you have then to do is to sync your back from the lens to your back

Aon
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fpoole
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« Reply #11 on: November 06, 2006, 09:37:04 AM »
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Paul,
After using a P2 for the past 15+ years I recently migrated to a P3 with a sinar 54H back.  It is a great combination in the studio especially with the CMV lenses.  As you already, know anything Sinar=$$$$$$$$$$$.  

I am 99% sure that the standards on the P3 are the same as on the P2 - only the carrier frames are different.  My only complaint is that the geared movements, while very solid, are ratio'd for 4x5.  I am still surprised at how little movement the digital back needs.  It would be useful to have finer swing and tilt movements and I am sure this will happen in the future.
Live video took a little time  to get used to,  but it is so good I could not imagine not working without it now.  There are several options for sliding backs - Sinar makes one and the Kapture Group has one also I believe, but after working with live video this wouldn't be a viable option for me.  

The CMV lenses are nice but any shutter mounted lens can be used on the P3- you just sync off the back.  After testing all of my old 4x5 lenses i found that the 150mm G-claron lens performs surprisingly well with the sinar back.  Not quite as sharp as the digitars but very very good.  I have no experience using wides on the P3, but I don't see where there would be a problem.  But again it is something you need to test for yourself.  There is a lot of misinformation out there.
 
I also believe sinar makes adapters for all the MF Backs.

I love the look of Leaf files but the ability to use the Sinarback on different cameras was the dealbreaker for me as I also use it on a Contax 645 and it is simple to switch back and forth.

SK Grimes machinists in Rhode Island is making lens boards for the P3 both flat and recessed at a very good prices. They are also a great source for any custom machine work.  They can do almsot anything.

Before you buy anything try to rent  one and actually use it and see if it works for you.  It's a big investment and the decision you make now kind of locks you into a certain upgrade path in the future.  

Best,
Frank Poole
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pprdigital
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« Reply #12 on: November 06, 2006, 10:22:42 AM »
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Paul:

We have sold a number of P3 systems with non-Sinar digital backs and they work fine. Sinar does have a very good sliding back adapter that accepts V-Series Hasselblad mounts, although there is a new adapter insert that will change that to H-Series Hasselblad mount. It's solid, well constructed, and features a lock as well as a toggle wheel to advance (gasp!) a Hasselblad film back.

KaptureGroup also makes a fine sliding back adapter for P3 that accepts V-Series, H-Series, Contax 645 and Mamiya 645. Not quite as nice as the Sinar, but half the price.

I believe when I've put P3 standards next to P2 standards, they are slightly shorter and finer tuned than the P2 standards. I can verify this Tuesday. However, we have many customers who saved $4,600 by converting their P2 to P3 instead of going for the whole system. The conversion kit costs $3,650 and replaces the P2 frames that attach to the standards, as well as adding the smaller bellows. Otherwise, it's $8,211 for a new P3. For medium to long lenses, this is a reasonable path to pursue. For wider lenses, the precision and smaller size of the P3 will be an advantage.

Using non-Sinar lenses that are wider than 60mm will require a recess board, which Sinar does not manufacture for the P3. SK Grimes does have such a board - in fact we approached them with the initial project - but these boards work either with a Sinar sliding back, or a KaptureGroup Video Mount, because the Sinar Sliding back replaces the rear frame, and the KG Video Mount closely matches that focus plane. We found that you cannot use the KG Sliding Back with the deepest SK Grimes P3 recess board because it seats the digital back too far past the minimum focusing plane. This is a up to 35mmXL Digitar. We have not tested the SK Grimes recess board with the 24mmXL Digitar yet.

Sinar just did come out with copal shutter mounted lenses for P3 which will eliminate the need for an SK Grimes recess board, if you buy their lenses. The Copal shutter mounted lenses are a bit less expensive than their electronic CMV and CAB lenses.

The biggest advantage of going P3 and all Sinar (back, lenses, everything) is that you have complete integration, one supplier, computer-based operation, etc.

But that doesn't mean other digital backs don't work just fine. For someone who values what the P3 offers, rock-solid stability, great system accessories, all the features one would want from a view camera - yaw-free, self-locking, zero detents, etc, it makes a fine platform for digital capture.

Steve Hendrix
PPR Digital
www.ppratlanta.com
Dealer for Leaf, Hasselblad, and Sinar
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Paul Barker
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« Reply #13 on: November 06, 2006, 10:29:08 AM »
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Many thanks for your thoughts everyone (Hi Yair, hope you are well), some useful food for thought.

Christopher's comment about the tilt and swing axis of the P3 being aligned to the smaller area is a point I hadn't considered. Although I'm not sure how it would work in practise. In the old days, viewing on ground glass, it worked very well, focus on the dotted line, apply the swing or tilt. Not sure how that will translate into viewing as a live preview.... unless you can set up some guides into the position of the swing axis. You can place guides on the capture window in C1 but not sure about the live preview window. I believe you can apply an overlay, so something maybe possible.

I'm sure I had seen a V adaptor plate mentioned, I shoot with V series 'blads anyway so hopefully no problem there. I would have thought it would be crazy for them to limit it to just Sinar backs. Lastra's website is dreadful and Sinar's not much better, but it does have an illustration in the sales brochure of an adaptor for 'non Sinar digital backs' in the system chart.

I haven't given lenses much thought apart from knowing that the 'digital' ones are better. On the grounds of economy, I would most probably go for copal shutters but need to look into that. The prime use of the camera would be still life product, lifestyle and food so WA is not going to be a problem. I'm an all-rounder so if I needed WA for Architecture I would go down the Alpa/Cambo route.

Frank, interesting what you say about the gearing. I was under the impression it was finer than the P2. If the standards are the same one wonders if one can't save a lot by buying a s/h P2 and just changing the carriers and bellows (just waiting for my dealer to phone me back)?

If the live preview is good enough then a sliding back wouldn't get much use, maybe only for initial set up. When I tried the Arca, focusing on the glass with movements applied became very difficult.... impossible really. The back attached was an Jenoptic M22 which did have live preview but was pretty clunky. I'm hoping Phase's implementation will be better... remains to be seen.

Yes I know Sinar=$$$$$$. Don't suppose anybody wants to buy a Kidney?

Thanks again
Paul
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Paul Barker
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« Reply #14 on: November 06, 2006, 10:37:18 AM »
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Damn, I should have refreshed the page before posting  . Thanks Steve for answering some of the questions, very useful info.

Cheers
Paul
« Last Edit: November 06, 2006, 10:39:22 AM by Paul Barker » Logged
Christopher Arnoldi
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« Reply #15 on: November 06, 2006, 04:40:44 PM »
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Christopher's comment about the tilt and swing axis of the P3 being aligned to the smaller area is a point I hadn't considered. Although I'm not sure how it would work in practise. In the old days, viewing on ground glass, it worked very well, focus on the dotted line, apply the swing or tilt. Not sure how that will translate into viewing as a live preview.... [a href=\"index.php?act=findpost&pid=83820\"][{POST_SNAPBACK}][/a]

Paul, beneath the Live Preview you have a 1:1 preview. This evening I shot the entrance of a Bank with the 47 XL from a 7-hour-position. I positioned the 1:1 preview on the swing axis, focused, then positioned the 1:1 preview on the right corner of the wall and tilted the rear standard only minus 0,5 degree from the zero postion. That was no problem with the p3. It stayed in this position and the gear was fine enough.

The 1:1 preview (1 pixel from the back = 1 pixel on the screen) is so exact, that you have problems to decide, if you should swing a half degree more or less. And the live view is bright – not so with using wide angle lenses on a ground glass, especially in the edges.
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« Reply #16 on: November 08, 2006, 09:07:04 AM »
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Christopher's comment about the tilt and swing axis of the P3 being aligned to the smaller area is a point I hadn't considered. Although I'm not sure how it would work in practise. In the old days, viewing on ground glass, it worked very well, focus on the dotted line, apply the swing or tilt. Not sure how that will translate into viewing as a live preview....
Frank, interesting what you say about the gearing. I was under the impression it was finer than the P2. If the standards are the same one wonders if one can't save a lot by buying a s/h P2 and just changing the carriers and bellows (just waiting for my dealer to phone me back)?

If the live preview is good enough then a sliding back wouldn't get much use, maybe only for initial set up. When I tried the Arca, focusing on the glass with movements applied became very difficult.... impossible really. The back attached was an Jenoptic M22 which did have live preview but was pretty clunky. I'm hoping Phase's implementation will be better... remains to be seen.

Yes I know Sinar=$$$$$$. Don't suppose anybody wants to buy a Kidney?

Thanks again
Paul
[a href=\"index.php?act=findpost&pid=83820\"][{POST_SNAPBACK}][/a]

Paul,

the live video with the Sinarback on the p3 is perfect. You can "overlay" the tilt and swing axis in your live image, and then focus on the axis and tilt and/or swing as you did it on your p2 on the groundglass, with the same dotted lines! Focus on the screen is very precise, due to a wonderful clean live image, but laos because the soft has a focus control which tells you when you are exactly sharp! That is just fantastic: even a blind could focus!

No need of sliding adapter anymore, with the live video.

The gears of the p3 are actually finer tuned than those of the p2, definitively. But I think that you even be a bit finer, because of the very little movements needed with the current CCD sizes than on a 4x5" film. But it works fine.

I have seen the Phase One live video during the Photokina: it is not really usable, not clear and clean, and certainly a pain when you have to focus, tilt, swing precisely.

Aon
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Paul Barker
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« Reply #17 on: November 08, 2006, 12:23:14 PM »
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Thanks Aon.

Off to London tomorrow, hope to get some more answers. Spoke to my dealer who said the P2 and P3 are basically the same (but hopefully the gearing would be finer on P3). He seemed to think it was difficult to get V series adaptor plates and in the past could never get a definitive answer as to whether they support the mounting for third party backs.

The P+ backs should ship in the new year. My dealer said he thought the Live video was clean and very useable with a separate focus window much like we have for still capture. Obviously, I need to make my own mind up on what is useable to me and guess I'll reserve judgement until I see the final shipping version for myself.

I'm sue the Sinar backs are very good. I did have a demo of the Sinar eMotion when I did upgrade last year. It didn't cut the mustard in a number of areas. The connection between Sinar and Jenoptic seemed muddled  at that time. Some features like tethered shooting were available to people using Jenoptic eyelike eMotions with the eyelike software, but not to Sinar eMotion with Sinar Captureshop. I hear a new version of a combined Captureshop/eyelike capture is in the pipeline, maybe that will be wonderful but who knows... now with Leica in the frame... it gets more complicated by the minute.

Maybe the other Sinar backs Live video are very good but, at the time,  I wanted tether-less shooting and Captureshop was a no no for me as it had no CMYK output.

The phase backs have been very good for me and I have grown up with C1 so know it well. The other great strength is being able to work with files from other cameras I use, Canon Leica and keep the same workflow. So I don't think I will changing just for the moment... although I'm always open to suggestion.

I would like to stick with Sinar Ps simply because they are second nature to me. If I have to consider Arca or Linhof for a platform I don't suppose it will be the end of the world.

Thanks again to all who've responded.
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pprdigital
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« Reply #18 on: November 08, 2006, 08:22:48 PM »
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Thanks Aon.

Off to London tomorrow, hope to get some more answers. Spoke to my dealer who said the P2 and P3 are basically the same (but hopefully the gearing would be finer on P3). He seemed to think it was difficult to get V series adaptor plates and in the past could never get a definitive answer as to whether they support the mounting for third party backs.

The P+ backs should ship in the new year. My dealer said he thought the Live video was clean and very useable with a separate focus window much like we have for still capture. Obviously, I need to make my own mind up on what is useable to me and guess I'll reserve judgement until I see the final shipping version for myself.

I'm sue the Sinar backs are very good. I did have a demo of the Sinar eMotion when I did upgrade last year. It didn't cut the mustard in a number of areas. The connection between Sinar and Jenoptic seemed muddled  at that time. Some features like tethered shooting were available to people using Jenoptic eyelike eMotions with the eyelike software, but not to Sinar eMotion with Sinar Captureshop. I hear a new version of a combined Captureshop/eyelike capture is in the pipeline, maybe that will be wonderful but who knows... now with Leica in the frame... it gets more complicated by the minute.

Maybe the other Sinar backs Live video are very good but, at the time,  I wanted tether-less shooting and Captureshop was a no no for me as it had no CMYK output.

The phase backs have been very good for me and I have grown up with C1 so know it well. The other great strength is being able to work with files from other cameras I use, Canon Leica and keep the same workflow. So I don't think I will changing just for the moment... although I'm always open to suggestion.

I would like to stick with Sinar Ps simply because they are second nature to me. If I have to consider Arca or Linhof for a platform I don't suppose it will be the end of the world.

Thanks again to all who've responded.
[a href=\"index.php?act=findpost&pid=84168\"][{POST_SNAPBACK}][/a]

Paul:

There's never been any issue with getting V-Series adapter plates for Sinarbacks. And here's a definitive answer on 3rd party backs working on P3: They do.

At least in the US, Captureshop quickly become the software of choice for Sinarbacks in terms of corporate support. We have had a Sinar eMotion 75 in demo for 6 months and it has run on Captureshop the whole way. Captureshop absolutely has CMYK output options also, always has as far as I know, at least back 5 or 6 years.

I did get a peek at the new Expose software (combination of CaptureShop {Sinar} and Capture Pro {Eyelike} software. I was extremely impressed. It indeed looked like they had taken the best of both software's and combined them. The new interface seemed better than either prior product, it shoots native DNG, and there were some very cool new tools in there. What I saw, I liked a lot.

Steve Hendrix
PPR Digital
www.ppratlanta.com
Dealer for Leaf, Hasselblad, and Sinar
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« Reply #19 on: November 09, 2006, 09:13:04 AM »
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Paul:

There's never been any issue with getting V-Series adapter plates for Sinarbacks. And here's a definitive answer on 3rd party backs working on P3: They do.

At least in the US, Captureshop quickly become the software of choice for Sinarbacks in terms of corporate support. We have had a Sinar eMotion 75 in demo for 6 months and it has run on Captureshop the whole way. Captureshop absolutely has CMYK output options also, always has as far as I know, at least back 5 or 6 years.

I did get a peek at the new Expose software (combination of CaptureShop {Sinar} and Capture Pro {Eyelike} software. I was extremely impressed. It indeed looked like they had taken the best of both software's and combined them. The new interface seemed better than either prior product, it shoots native DNG, and there were some very cool new tools in there. What I saw, I liked a lot.

Steve Hendrix
PPR Digital
www.ppratlanta.com
Dealer for Leaf, Hasselblad, and Sinar
[a href=\"index.php?act=findpost&pid=84245\"][{POST_SNAPBACK}][/a]

Agree 100% with Steve:

this is a definitive YES to third party backs on the p3. And YES, Captureshop DOES HAVE CMYK. And also yes, the eMotion (22 AND 75) can be used thetered as un-thetered with Captureshop.

I am myself working with these configurtions.

Aon
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