The maximum range of the Cinefade effect is 5 T-stops.
Read MoreThe Cinefade system is compatible with all analogue film and digital cameras.
Read MoreIn our experience the Leitz Summilux-C, Cooke S4i, ARRI Zeiss Master Prime and Panavision Primo 70 Series work well with our system.
Read Morehere are no changes in polarisation effects, such as reflections in glass and changes in blue skies when using the cmotion Cinefade VariND.
Read MoreYes, it is certainly possible to combine a so-called Vertigo effect with the Cinefade variable depth of field in-camera effect and the results are amazing.
Read MoreThe Cinefade system is compatible with all cine-lenses that have manual aperture control and accurate lens markings.
Read MoreThe Cinefade system is compatible with all ARRI LMB matte boxes, including the ARRI LMB 4x5, LMB5 and LMB25.
Read MoreThe Cinefade system is only compatible with the cmotion cPRO lens control system with compatibility for the ARRI WCU4 slated for a future software update or licence key.
Read MoreThe initial light loss of the cmotion Cinefade VariND is 1.5 stops, requiring an exposure compensation when taking a light meter reading. In order to transition from a T11 to a T2, a light meter reading of T16 ½ is necessary to obtain a ‘good’ exposure
Read MoreIn our experience, a minimum 4-stop Cinefade over several seconds is required to make the effect visible and 5 or 6 stops are ideal.
Read MoreIn our experience focal lengths between 29mm and 50mm produce the best results for medium close up shots.
Read MoreIt is certainly possible to emulate the Cinefade effect in post-production. We would however argue that it is a creatively inferior and more expensive method of achieving a depth of field transition.
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