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Customer Control Room Goes Down and Reveals Deficiencies

Customer Control Room Goes Down and Reveals Deficiencies

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September 13, 2010 I get a phone message that the control room switcher will not function.  In a few hours I appear to check this report out.  The switcher will not work but I figure I must rule out the sync generator.  At first I can not see any sync signals due to my unfamiliarity to the waveform monitor.  I finally find what appears to be good sync going to the switcher.  We discover that the sync generator has a password and no one has the code.  I start to check out the switcher.  I noticed that two LED indicators are out on the main frame electronics.  The control head responds to reset and control head function checks but will not switch.  When the front panel to the main frame electronics is taken off, I notice that there are nine tiny LED indicators on the front left side of the main circuit board.  All LED’s are green except number three is orange.  Service documentation fails to tell me what the LED’s mean.  The documents only say that the blue LED’s must all be on.

September 14, Grass Valley requests that I obtain a boot up record of the switcher start up by connecting a computer to the switcher serial connector using Hyper Terminal and using 9600, N, 8, 1.  I get a good read out and capture it to my Mac laptop using Boot Camp and Windows 98.  I send the file to Grass Valley but they can not read it and advise that I zip the file.  I do so and they said that the read out appears to be from the control head.  I had no idea that the main electronics package has capability and different boot record.  I try to get a read out but NOTHING comes out of the computer port.  Grass Valley advises that it looks like the internal computer has possibly died.

E:Mail to customer: I checked the sync generator and it seems to be ok but Grass Valley and I think there might be a very slight possibility it might be at the root of the switcher failure.  I give that possibility about a ten percent chance.  When looking at the switcher, it shows failure.  There are five LED indicators on the front panel and they are ALL expected to be lit.  Two are NOT!  The one that really bothers our technical support guy and me is the one called “Ref”.  We both think that might refer to the black burst input signal not being liked by the switcher.  GV tech support does not seem to know what the LED lights indicate.  Black burst looks almost perfect to me when viewed on the waveform monitor, which is why I think the problem is switcher and not sync generator.  Next , inside the switcher unit there are nine very small LED indicators, that can only be seen with the cover off.  One shows orange and all the others show green.  Grass Valley technician compared their test unit with ours and a different single LED was orange.  This too points to the switcher having a problem.

A very wonderful Grass Valley technician, suspects the real problem is the switcher computer module inside the unit and thinks we should send the whole unit back for exchange.  The exchange price will be $9,769.00.  Once we tell them we will pay for the exchange, they will ship us an exchange unit immediately and we should get it the next day!  A second option:  Grass Valley will repair our switcher for $6,839.00 but that will take two weeks.  We MUST go with the first option, immediate exchange, in my opinion.

Grass Valley wants me to do one more trouble shooting procedure.  It is a bit weird.  I have to hook up a Windows computer with RS232 connection and use Hyper Terminal to read the switcher boot process.  They want me to send the text file that this process generates to see if he spots some item that he is missing and might redirect our efforts.  I will come in Wednesday to attempt to complete that procedure.  Once we get the exchange switcher in, I suspect it needs to be configured and not sure how much effort that will take.

September 15:  Trying to get authorization to get switcher repaired.  E-mails are traded back and forth to accomplish this.

September 16: Purchase procedure continuing.

September 17: Purchase procedure continuing with one problem after another cropping up:

  • Grass Valley can not call into the customer’s area code.  Grass Valley complains to its phone carrier and later this day the phone lines connect.  This delays the fax process between the customer and Grass Valley and technical support notifications to about five customer employees involved in the equipment purchase swap.
  • Grass Valley originally sent a price quote to me by e-mail.  Customer purchasing department asked for a letter head quote but this was delayed by phone problems.  It took close to half a day to convey the need and response to provide that document.

Once I had the swap out main electronic package I then placed it on top of the existing unit and one by one removed each video BNC cable from the broken unit into the new unit so as not to make any mistake. 

I then switched out the switcher boxes by removing the broken unit and screwing in the new unit into the rack panel.

I could not find any memory stick configuration save for this unit so I had to use the system flow diagrams and figure out the cross point programming for each input.  This part of the installation created some white hairs on my head.  I later found out that the company that installed the system hired a Grass Valley engineer to do this part of the installation.  The payoff for learning how to do this part of the installation is I now have a good feel for making system changes when needed.

Once I had the switcher up and running, I definitely took the time to save the switcher configuration on to a USB finger drive.

Film Production Results

Film Production Results

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This is the third in a series of posts.  There are two prior posts to this one.  Post number one: http://mclarenblog.com/?p=1032.  Post number two: http://mclarenblog.com/?p=1035.

On 11/30/10  9:30 AM, “A. B.” wrote:

Got my footage back, first roll was blurred because I never set the ground glass, second roll was also blurred because the film stock was loose in the door. Third roll was amazing but slightly green (colorist fixed with ease), fourth roll was perfect, fifth roll was perfect with the exception of a shot that I did indoors with a 250D. The shot was too red, again the colorist fixed that with ease.  Infinite value learned from this shoot.

  • Lesson one you can’t fix focus in post make sure you are 100% with it before you shoot.
  • Lesson two the more time you invest in shoot the better your image will look.
  • Lesson 3 there will always be mistakes but there is nothing you can do but prepare for them.
  • Lastly, film is awesome and is such an intimate medium.

Thanks for all the help as you can see after your input my rolls turned out a lot better ( rolls 3-5).  Rolls one and two were salvageable in the fact that some of the images were focused for 1-2 seconds so I’ll definitely have to be a wiz in editing to make the first scene work.  I will definitely be shooting 16mm again and look forward to the great texture and quality that await!  Thanks again and I’ll link you my video when I finish if you want to check it out.

Best,
A. B.

16 MM Camera Lens Out Of Calibration? (#2)

16 MM Camera Lens Out Of Calibration? (#2)

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This is the second in a series of posts.  The prior post can be found here: Student Asks, Was The Lens Out Of Calibration? (#1) http://mclarenblog.com/?p=1032

On 11/18/10 9:57 PM, “A. B.”  wrote:

All this information is very useful and I have been told since emailing you many of the same things.  All these things are definitely key in my future filming.  I was told by another about the ground glass being specifically important as well.  Although I new about the ground glass, for my previous shoot I set the diopter based on opening up the f-stop and setting the focus to infinite and then adjusting diopter so that the buildings a couple hundred feet away were as sharp as possible, focusing on the lines and edges of the building.  I’m not sure if the grain was as focused as possible because I hadn’t learned that information yet and didn’t think to check.  Although my future focusing will definitely involve the grain on the ground glass, is the method I used incorrect?  I have to send all my rolls in at once due to budget constraints so theres no way to see if I should reshoot or not. Budgeting also is an issue for reshooting with this new knowledge.  Everything was focused to my eye and then rechecked by my DP.  Should I be worried or am I being overly concerned?  I have never shot on 16 and want my first project to be a success in my academic journey into 16. Again thank you for the detailed response and it is very appreciated.

Best,
A. B.

——————–

Dear A. B.,

I just found your reply in my junk e-mail folder.  Entourage, my main e-mail software, can be a pain at times.  Most sorry I did not spot this e-mail earlier.

Your method of placing the lens to infinity and opening up the iris all the way impresses me that you seem to understand the principal of an open iris will diminish the the area of acceptable focus.  Your next procedure of using infinity lens focus as a “trick” to make sure the lens is in calibration, is correct but might be premature.  (By the way, opening up the iris all the way has ruined many a student project.  Make darn sure you reset the iris to proper setting before filming.)  The process you followed worries me a bit.  The eye focus adjustment (diopter) must be properly set so the grain you see in the viewfinder achieves best focus before you do anything with the camera.  I tell students to shoot a blank wall or even a sheet of paper so they and YOU are forced to concentrate on the viewfinder screen grain.

AFTER you can guarantee that the ground glass is in proper focus, THEN shoot objects at infinity with the lens and shoot building edges and power lines to see if the lens is in proper calibration.

What you can do if you find a perfect lenses:  You can do the Siemens star chart tests for closer than infinity to make sure that the lens is accurate all along its markings.  If you know for sure that the lens is dead on perfect for focus at every mark on the focus ring, you can then run a “TAPE” (tape measure) out from the camera to the subject and then rotate the lens focus ring to the corresponding mark.    Every professional camera has a film plane marking.  It looks like a circle with a line through it and the line is ALWAYS vertical.  I personally would viewfinder focus the shot and then tape it to check that my eye had found the correct lens focus plane.  The reason for this is my eyes are getting a bit old and that ground glass just does not do it for me every time.  In other words you can viewfinder the camera for correct focus.  You can actually tape the camera for correct focus (only if the lens is perfect for the camera you are using). Best of all, use both methods and you should NEVER get back out of focus film.

Tip: Proper focus requires LINES.  I defy you to find proper focus shooting a black curtain with no wrinkles.   I love shooting women with all that eye make up that approaches a Siemens start chart.  LOL.  Always look for lines at the plane (from the camera) that you want to look the best.

Tip: When shooting a person, focus on the eyes!   If the camera person can not determine accurate focus, for any reason, put a Siemens star chart at the SAME distance as the object you intend to shoot to make the setting of perfect focus more easy.

Tip: Just as I told you to make sure that you reset your iris to the proper setting before pushing film, ALSO make sure that the camera person sets viewfinder focus for his or her eye before they start the camera.  You would not believe the number of student films that were shot slightly out of focus because the director viewed the scene, adjusted the viewfinder and then the camera operator took over and did NOT reset the viewfinder focus.

Another tip: If you go to college in a large city, you just might have a good film equipment rental house that you can use.  Check their prices for equipment rental.  If you think the college cameras are a problem, consider renting out a camera.  Now here is the trick.  Get other students to do their projects the same WEEKEND as you do yours.  This ONLY works if the rental house closes Saturday and Sunday.  Often times the rental house will consider equipment rental ONE DAY if you take the stuff out Friday and bring it back Monday.  If you find a rental house that does offer this, fine tune it a bit by asking how early Friday can you pick up the equipment and how late you can return it Monday.  You then split the costs with the other student groups.  If YOU pay for the rental and check out the equipment, I suggest that YOU attend every shoot, guard and protect that equipment, and return it back to the rental house because you are financially responsible for loss or damage.  Consider paying for insurance to further protect yourself.  That insurance is typically offered by the rental house.

You asked, “Should I be worried or am I being overly concerned?  You told me you shot the footage; it is done.  Get over it.  If it comes back out of focus, you will have more deeply and painfully learned some pretty basic and very important technical processes that need to be understood when using a film camera.

By the way, what college do you go to?

Extra credit question 1: why should you NOT set your lens ring to infinity to get the greatest (most) area in the scene in acceptable focus?
Extra credit question 2: where should the focus ring be set if NOT at infinity?

I hope this helps.
Regards,
Score Card

Student Asks, Was The Lens Out Of Calibration? (#1)

Student Asks, Was The Lens Out Of Calibration? (#1)

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This is the first in a series of e-mail posts. The next post can be found here: 16 MM Camera Lens Out Of Calibration? (#2) http://mclarenblog.com/?p=1035

On 11/16/10 7:43 PM, “A. B.” wrote:

Hi I am a new filmmaker still in school and I recently read your blog from 3
years ago here http://mclarenblog.com/?p=196
My question is what if you have done all these steps and the feet marked with
measuring tape are not matching up.  For instance my subject is 5 1/2 ft away
but image is sharp at a setting of 3 ft?  Is the camera out of calibration is
it possible for it to be this way?  Not sure what seems to be the problem, my
professor told me to just trust my eye not the measuring tape.  But I feel
like the camera focus distance should coincide with the actual distance.
These cameras are 16mm Ariflex’s from the late 70’s.

Thanks for the help
A. B.

—————————–
On Nov 17, 2010, at 11:24 PM, Score Card wrote:

Mr. A. B.,

Let me put some ideas out for you to consider.

Ideally when you rent a camera from a rental house, you should expect the camera to be in near perfect running order.  Schools can slip from that due to a number of factors.  I am somewhat impressed that you found that this can be a problem.  Your concern and the measurements we are discussing should also be used when renting from a rental house.  Rental houses always have a setup area for the customers to set up and test the equipment before it goes out.

When you shoot an object close to the camera I have noticed that the lens makings are not all that accurate on some lenses.   There are a lot of reasons for this but they all come from being used by a lot of students, not being properly maintained, and not always being matched with the correct camera.

Please be aware that lenses MUST be collimated for each camera.   A really bad idea is use a lens intended for one type of camera in another camera.  If you do this, the lens markings might (will) be off.

Keep this in mind.   The lens forms an image on to the film.  The camera intercepts the lens image on its way to the film and throws it into the camera person’s eye using some trick:

Bolex = beam splitter is used but robs a portion of the light for viewing.
Arri = rotating mirror intercepts the light briefly to throw it to the viewfinder.

The eye then looks at the light image on its way to the film either as an aerial image formed in space (Bolex) or on a clear lens or on a ground glass (Arri).

When I troubleshoot any problem, I almost always look at what can go wrong but in order of most probable cause.  Of the three components listed above, the lens being out of calibration and the camera person not setting their eye piece focus properly are tops on my list.  In other words, the two devices that people touch and can screw up are truly the most prone to failure.  Those two problem devices are typically at either end of the camera.

You are correct that if you shoot a Siemens star chart and then taped the distance from camera film marking (line though a circle) to chart, the best focus should read on the lens pretty close to the tape reading.  If it does not, you should check the following:

For all the following tests, make sure you have the lens iris set to wide open.  This diminishes the depth of field.  This will make all lens measurements very accurate.
Look closely at the lens you are having problem with.  Are any rings loose?  Does the lens move side to side in any way?  Rotate the focus ring on the lens you are concerned about to both extremes, that being, infinity and then the closest focus marking on the lens.  Of particular interest for me is to see if the focus for infinity lines up EXACTLY.  If the infinity marking does not line up with the marking for the exact focus line on the rotating barrel, the focus ring has slipped and would then make the lens markings for focus be incorrect.   Resetting that ring is very easy and I had to do that many times.
Typically the camera has a viewfinder to see the image “through the taking lens”.  You must appreciate that you MUST focus your eye to the plane where the image is formed for your eye.  On the Arri S camera, they added a ground glass so the lens image stops and is rendered on a ground glass like a small theatre screen.  The camera operator then views this image from the opposite side of the ground glass.  Problem is that the camera operator, being you, must focus your eye so that the grain (NOT TO THE IMAGE).   That ground glass should look as sharp  as you can make it.  In other words you want to shoot a blank surface with the camera so you concentrate on that ground glass and rotate the diopter lens adjustment until that ground glass looks as grainy as possible.  It is best to rock the diopter lens adjustment back and forth until the ground glass “pops with definition”.  If you did not do that correct, this would easily create a lens focus error.  Another tip:  Some cameras come with a turret of three lenses.   If your viewfinder is not set for proper diopter, all the lenses on the camera should show focus ring errors.  Or you can screw on other lenses and see if they all have the same error.  If they do, I would suspect a diopter or lens viewfinder error.
If you have a Bolex camera you do not have a ground glass.  This method am going to tell you will also work for Arri.  Set the taking lens to infinity.  Next, focus on power lines or a building edge far far away.   Next, set your viewfinder dipoter so those power lines and/or building edge look as sharp as you can make them.  If this does NOT work properly; you do not get good results, the camera optics are suspect.  Now, take a Siemens Star Chart and set it to some close in distance. I look at my lens and look for a good convenient marking and tape that distance out from the camera and place the chart.  You set the diopter for infinity so do NOT change it!!!  Shooting the Siemens Star Chart, rock the camera lens focus back and forth until the center of that chart looks as best as it can get.  Bad is fuzzy.  Good is sharp pie shaped wedges.  (Note: Arri ground glass focus cameras will never look terrific).  If your tape distance to chart does not match pretty close to the lens markings, I would suspect the camera might be out of calibration.
A very telling test is to shoot some film with the camera.  I would shoot the Siemens Star Chart at different distances and put up a large label under the chart that can easily be read as to the distance from camera.  If you find a consistent error, jot it down and use that figure to compensate future shoots or send the lens in for repair if it is way off.
If you have access to an autocollimator that device is used by professionals to confirm lens focus to the FILM plane.  These devices are time consuming and tricky to use but the ultimate tool.

You have to get your hands on a Siemens Star Chart.  Use your computer and Google it.  Find a FREE one.  Print it out.

Next read up about the chart: http://en.wikipedia.org/wiki/Siemens_star <http://en.wikipedia.org/wiki/Siemens_star>

Print out one of the charts and glue it to a stiff board.   Tip: you can use dry mount tissue and a clothes iron will work on cardboard and smooth wood.

The Siemens Star chart is intuitive and thus simple to use.  Just focus your camera lens until the chart snaps into focus at the center.  An out of focus image rapidly appears bad when the center of the chart goes blurry.  Some smart camera operators sometimes use this chart to find or confirm correct focal distance for difficult camera shots.

I hope this helps.
Score Card

(Parts of this blog post revised Dec 7, 2017)

Three LED Tally

Three LED Tally

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American tally systems typically rely on the single RED light over monitors to indicate that what that monitor represents is hot or on air.  In Europe, they adopted having three tally lights:

  • Red = Currently on air
  • Yellow = ISO.  This warns the Technical Director that this source is currently feeding a separate record deck.
  • Green = Preset by Technical Director that this source will be a part of the next take or effect.

It is quite possible to see a single monitor that has both Red and Yellow tally lights lit.  This means that the live feed (Red tally) is using this source and is also feeding an Isolated deck (Yellow tally).

I personally think the following is a possible option:

  • Red = Currently on air.
  • Yellow = Preset
  • Green = Preview
Troubleshooting Arri S 16mm Camera Problems

Troubleshooting Arri S 16mm Camera Problems

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Troubleshooting the obvious and less obvious:

Camera will not run.

  • Check to make sure the motor clamp is snug. The camera motor body is the return electrical path and must be touching the motor housing clamp tight enough for a good electrical contact.
  • The film buckle switch might not have been set properly. Open the sprocket wheel mechanism and then close. You don’t see it but a little plunger resets the film buckle switch to the “ON” position by open and closing the thread mechanism.

There are times when the film buckle switch just will not set properly. There is a small pin that is the film buckle switch over ride. This is another switch that bypasses the film buckle switch to allow the camera motor to run. In theory the film buckle switch will shut down the camera when a film frame is not advanced but the internal sprocket wheel continues to pull film out of the film pressure plate. When a couple of frames are not moved forward out of the aperture then the bottom or take up side film loop will diminish thus putting pressure upon the pressure plate. Inside the camera is a small roller that is located below the sprocket wheel and in the path of the bottom film loop. When that loop shrinks in size due to missing film frames, this roller will be pulled upward and trigger the film buckle switch thus shutting down the camera. Some times it is imperative that the last take be protected and the camera operator needs to wind a turn of film forward to protect the last shot. The film buckle over ride switch will allow you to do this. Just press in on the little pin near the on/off switch and then turn the camera on. Note: The film buckle over ride switch allows you to determine if the film buckle switch remains off even when you reset it.

  • The original Arri S power cable typically breaks an internal wire within a very close distance from the camera. With no film loaded, press down on the power switch and try to move the power cable up toward the camera or if that fails any direction. If you discover that the camera power cable in intermittent and you have to use the camera in the field, determine the best means of taping the cable so it will run. Note: Some institutions and rental houses have modified their cameras to avoid using the original Arri power cable as they are exceedingly hard to find and if you find one are usually over priced.

You can not see an image.

  • Obviously, there is a lens cap and I would hope that that cap is not on the front of the lens.
  • The viewfinder might have a cap over it. Swing the cap out of the way. Some cameras have an automatic iris that closes out the light from the viewfinder unless the operator places his or her eye up to the viewfinder and presses against the eye cup. The pressure opens the iris and allows the operator to view and image.
  • Each lens has a iris adjustment. Rotate the iris ring to full open.
  • The viewing mechanism employs a front surfaced mirror to direct the lens image to the viewfinder while the film is being pulled down inside the camera. It is a 50/50 percent chance that when the camera is stopped that the shutter is open allowing the lens light to the film but denying you the ability to see anything from the camera viewfinder. The solution is simple. Just rotate the camera motor shaft a bit, that is the little knob at the rear of the motor until you see the image.
  • Are you using a telephoto lens or zoom in full zoom in setting? It is quite possible to be so closely zoomed into a blank wall or other surface that nothing will appear in the viewfinder. Pan or choose a wide angle lens.
  • The camera has three lens mounts. Make sure that you do not have the lens turret set between lenses. If you are not using all of the lens cavities, you are expected to put in a lens cap type of plug to block light and dust from entering the camera. Make sure you have not turned the lens turret to where there is no lens but a plug.

Image is out of focus.

  • Did you set the diopter first? Setting the diopter is the first step you should complete before thinking about using any lens. Just take the camera with or without a taking lens and shoot something blank like a white wall, the north sky if outside, or the sidewalk. Concentrate on a ground glass image in the viewfinder. Make darn sure that that ground glass is as sharp as you can make it for your eye by rotating the diopter ring close to the eye cup. Most Arri S cameras come with a target on the ground glass which makes finding ground glass focus pretty easy. It is possible to come across a camera without a target scribed into the ground glass surface. Just concentrate on the ground glass grain until it looks as sharp as you can get it. Whenever any camera person uses the camera, that person and only that person must reset the diopter. Never set the diopter for another camera person!
  • Now that the diopter is properly set, do not change it but lock it in place using the viewfinder lock ring.
  • Take the lens you intend to use and set it to infinity focus. The infinity marking on a lens is a figure “8” laid on its side. Infinity is a fantastic way to calibrate a lens or check its calibration.
  • Take the iris ring found on the lens and open it ALL the way. Do not stop it down one little bit. It must we wide open to remove any depth of field. [Dept of field is the area between a near and far point from the lens that shows acceptable focus.]
  • Through the viewfinder, look at an object with fine thin lines at infinity. Now lets get real here. Just pick an object at least a quarter a mile away. Power poles, power lines, high rise buildings with windows, edge of a tall building, tall trees, etc are really good objects to pick. Now we are going to concentrate on the fine lines of one of the far distant objects. Rotate the lens focus ring and rock the ring back and forth until you get the best focus.
  • Is the image sharp? Take into consideration that the image is composed on to a ground glass and the image by definition can not achieve any fantastic detail with this method but it should look sharp.
  • Look at the setting of the lens focus ring. Is it right on the infinity mark? If it is not, either you did the diopter adjustment wrong or the lens is out of calibration.

Image seems out of focus (more rigorous check).

  • Obtain a Siemens star target and place it at a convenient distance from the lens. This will require that you also have a tape measure. Look at the lens and look at the lens markings for distance. Choose a distance from the camera corresponding to a mark found on the lens. For example a lens mark might show 10 feet. If a lens is set to be in best focus at 10 feet but is not when we look though the viewfinder, then there is an error. If we choose 10 feet for the Siemens star then place that star image 10 feet from the camera. Most cameras have a film plane marking to indicate distance measurements. On the Arri S is on the opposite side of the operator close to the matt box attachment. The mark looks like a circle with a line running through it. One of the tape measure should be placed at that mark. Place the target Siemens star at a precise distance from the camera which is the
    SAME as the distance you set on the lens.
  • Perform the viewfinder ground glass focus as described above. Make darn sure this is as precise as you can get. If you get the ground glass calibration wrong this whole method falls apart.
  • Now open the lens all the way. We want minimal depth of field.
  • Rotate the focus lens ring back and forth to make the Siemens star appear as sharp focus as you can get. If you had chosen 10 feet, you will be rocking the focus ring closer than 10 feet and further than 10 feet to find the best, sharpest Siemens Star Chart image. Please remember that ground glass focus method is not going to be immaculate because the ground glass will soften any image. Just concentrate on the lines you see in the lens of the Star Chart and stop when the target gets sharp. The beauty of the Siemens Star Chart is that the center of the target goes out of focus in a hurry with any small deviation from perfect focus.
  • Now with the lens left where you found the best focus, compare the lens focus ring reading to the measured tape distance of the Siemens star to camera film plane distance. The two distances should be within four inches of each other. It they are not then a problem exists with the camera or the lens. Do not use the camera but return it to checkout or rental house and tell them that the tape vs eye measurements do not coincide.

Tip: Perform this procedure a few times and to see that you get the same results.

Obtain Siemens Star Chart   It is a good idea to take the printed Star Chart and glue it to a flat surface that you can carry around with you.

NOTE: Lens back focus is different with each model camera. Lens back focus is the distance behind the lens where the real sharp focus occurs. This sharp focus must occur on the film emulsion as it sits in the film camera aperture. Occasionally we send in our zoom lenses for collimating. We provide a camera with the lens. Some zoom lenses are matched for a particular camera. In addition, an exact lens opening on the turret is optimum and sometime comes with a special marking. For most student projects you should not care which zoom lens goes with which camera. In the professional field you will take great care that the lens properly matches the correct camera. In any case, do not use lenses intended for another camera as the back focus might and probably will be wrong.

The information here is for educational and reference use only. Decide on your own how to proceed in performing any repair you face. We do not accept any responsibility for this information being entirely accurate. We hope it is accurate. Most of the information posed here has been noted to be significant, used in the repair process, and to some extent tested for accuracy through the actual discovery and recording of performing a repair. If you decide to use any of the information here, try to keep in mind that a number of factors may change when you attempt the “same” repair. Models do change from apparently being same units. Their are definitely different methods of making a repair. The steps that you should use to achieve a successful and expedient repair might be different. The problem you face with a piece of equipment might be similar but not an exact match to what we faced. Just use common sense and always be a bit skeptical of following our methodology until you feel that you and we share the same viewpoint and tactics.