Caleb Genheimer

I would die happy if they would go in the opposite direction: 16mm coverage. There are many wonderful 16mm film cameras not being used because it is costly and/or impractical to convert them to the coveted Super-16 format, but 1.8X anamorphic and “Regular-16” would be a match made in heaven! Their 28/40/65 already cover the format, they could just do a wider lens for 16mm specifically, and re-house the other three lenses in PL mount. I’m scheming regardless to get that 28mm onto my Eclair NPR, but it would be preferable to have a wider option. I would think they could do it with the anamorphic optics from the 28mm and a new spherical block designed around the smaller 16mm image circle.

Kowa. Sankor. Elmo. There are many good options, it doesn’t have to be “for 8mm”, any 16mm or even 35mm scope will work as well. ebay is great, expect to pay about $400 for a decent scope these days.

I’m REALLY crossing fingers hard for a “Pro” version of the Aivascope 1.75X lens some time soon. Heck, I’d buy 3 or 4 and make myself a set of anamorphic primes!

I STILL feel 99% confident that an oval aperture blade system would be relatively easy to implement. Why 1.33X lens makers haven’t tried this I have no idea. If they hate the concept of loosing light, the final stops of the aperture can just open the sides up to a spherical opening for max T-stop. On digital? It’s past time to trick out my Kowa 16-H and call it a day. Probably a FVD-35 for maximum width. I’m eyeing up the Z-Cam F6 with a Kipon Baveyes for near IMAX size sensor emulation. On film, I’m starting in next year with a (regular) 16mm camera, and I’m hoping that Aivascope does another run of the 1.75X lenses, as that stretches out regular-16mm to be basically bang-on 2.39:1 with no waste. I may even buy 3, pair them with taking lenses and variable diopters to make a 3 lens set, possibly rehoused. The only way I’d ever touch a 1.33X lens would be if it gave a significant wide angle advantage over the Kowa with similar optical quality... which is not an easy metric to beat. Technically the Letus does, I think? But then it’s double focus. 1.33X at 50mm is a safe (if not THE safest) place to start with budget all-in-one anamorphic, so I don’t blame them, but I’m also not very enthused. If they pull off a 25mm, I’ll jump on board in a heartbeat (especially if it is easy to open up and modify with an oval insert) Otherwise for personal fun stuff, the projection adapters still give more character and quality... and if I end up in a more critical situation? Well, there’s an excellent set of Cine Kowas around town that I could just rent.

I’m unclear on how this doesn’t encompass BlackMagic’s BMRAW.... glad that it (apparently) doesn’t? But yeah. BMRAW REALLY needs to start permeating/spreading, or we’re screwed. There has to be viable competition, or the tech will remain artificially out of reach. All things considered, IMO RED has some borderline douchey business practices/models across the board. I don’t doubt the validity of their innovation in this instance, nor the right for them to do business as they see fit (or for people to buy into the hype), but it’s 110% not for me. I’ve worked RED footage in post, and believe me, the reason they’ve defended this tech tooth and nail is that it’s the only thing they have going. Any pro body sensor from the last 5 years would match or even obliterate what I saw out of the RED in terms of noise, sensitivity, dynamic range and color fidelity. That’s not to say the RED was bad... it was good footage, especially in compressed RAW. But ARRI still whoops their (and everyone else’s) butt up and down the street, even in ProRes. I really hope Kinefinity is joined in making RED-adjacent cameras, because there is an ergonomic sensibility to the brick/brain design. Even ARRI has been pushed into making the “mini” variants for this reason. I’d love to se a Panny EVA-2 with the S1H sensor, in a brick body, with BMRAW licensed under the hood.

@Andrew Reid What kind of DR are you seeing compared to the S1H? I’m patiently waiting still for someone to break that Alexa barrier of 14+ stops, but even with RAW becoming pedestrian in the last few years, no camera does yet. The S1H is now a Netflix certified A-camera, which means it is very good... but it still sits right in that 12-ish stop plateau where most all cameras sit (even if it’s a very high quality 12 stop image.) Do you think there’s any chance of a full sensor height 3:2 readout on the Sigma similar to the S1H 6K mode? If you’re in contact with Sigma, put that bug in their ear for sure.

I haven’t, but I’m sure there are still funny rare variants floating around. I’ve been stalking eBay for almost a decade now, and I still occasionally see scopes that surprise me. Theres actually a BIG brother to this scope (CinemaScope Attachment I and CinemaScope Attachment II), and I’ve combined front/rear from each with excellent results. Though the squeeze is reduced to only 1.33X, the angle of view compatibility is massive. The only downsides are fixed (infinity) focus, no variable diopter large enough to cover so wide, and (obviously) weight. Other rear elements I’ve got can make it around a 1.5X squeeze which is more useful for most of my applications. Maximum compatible focal length of the anamorphic front block is inversely related to the squeeze factor resultant from various rear block pairings... this results in a constant maximum horizontal angle of view, regardless of the squeeze factor. The 1.33X combo may work with a 17mm, and the 1.5X with only a 20mm... but the view angle is the same in both after factoring in the horizontal gains of the anamorphic. Thus, combining various front and rear anamorphic blocks may change the squeeze factor, and may increase taking lens compatibility, but the actual maximum angle of view will always be identical to that of the donor scope of the front anamorphic block. If I dare, I might some day combine some different rear groups with my Kowa 16-H to attempt a conversion to 1.5X squeeze, but even at 2X, it remains the widest projection scope out there. When I dug into these B&L lenses I was pretty disheartened to learn of the inevitable balsam separation and how difficult it is to successfully re cement anamorphic blocks. They produce some beautiful images, and if tuned correctly, can be very sharp. I wish some of the modern anamorphic adapter manufacturers would take note... there’s still no substitute for simple glass, simple optical formulas, and just scaling it as big as is needed to make that work even without fancy coatings. Sure it’s heavy, but the big glass just... works.

Yea I LOVE my GH5S, and if the S1H didn’t still have a drunk person inside it running the autofocus, I’d have bought that sucker so fast.... Canon just has AF nailed down at this point. It’s 100 % professionally useable. I wont deny that they get a whole lot of other stuff pretty mix-bag as far as video is concerned. Why every influencer isn’t absolutely SCREAMING at Panasonic to fix their AF I have no idea. Maybe 2020 is the magic year for saying enough is enough? I would almost dare call the S1H the perfect hybrid cine camera, but for the AF. Actually, the Sony FX9 gets a step closer, including good AF and electronic ND... but it doesn’t have that juicy full sensor 3:2 mode. It’s also the first Sony camera in a while that doesn’t make skin tones look like hot garbage. That’s one other thing Canon has down well. It feels like that Goldilocks camera is somewhere just around the corner... full frame open gate mirrorless 4K+ 60p dual native ISO electronic ND dual pixel autofocus internal compressed Raw codec dual analog gain audio inputs with 32 bit float file recording.

If the rear glass is not cracked I’d say those marks are fine. In the future I’d advise using a rear clamp that has plastic set screws though so as to not over exert force on the rear, or you’ll dig into it more, and possibly crack the glass inside too. Not sure if there are infinity only versions, but I doubt it. Most of these lenses have a way to lock the focus (since once installed in a theater for projection you wouldn’t want them to accidentally go out of focus.) It might be that the locking mechanism is seized. Not a big deal if it is truly at infinity, because for any practical purpose, you need a variable diopter to focus anamorphic projection adapter setups. With such setups, you put both the prime and anamorphic at infinity and leave them there.

Yeah but when the Organics become sentient, our entire species will be at risk of eradication!

The physics of focus remain true, regardless of format... however, your main concern will be the possibility of introducing vignetting. The variable diopters are only compatible out to certain angle of view, and that doesn’t change per format either. My advice for large format would be the new Rapido FVD-35A. It is optimized for “normal” angle of view 2X anamorphics (aka 50mm on full frame), but can be pushed as wide as 40mm apparently. (That’s a potential 20mm fullframe equivalent lens for anyone doing the anamorphic math). A quick google and table look-up shows that’s in the neighborhood of a 95 degree diagonal angle of view. Fixed diopters will be cheaper, but will limit your lens to close focus. For photography and certain video shots, that might not matter, but for fully racking focus, it won’t work.

Perhaps. Still, the only thing I would currently shoot on Sony cameras is a zombie flick ?

Hey, look at those lower resolutions! That’s awesome! Oh wait, what does that word “crop” mean? Also, it’s 2019. I thought all the speedbooster debates by people who don’t understand how they work were put to bed two years ago. I’m not rehashing how those work and their benefits again. Also, no way am I treating it like a Sony. AGAIN, I’m pointing out how the P6K is actually extremely similar to the the P4K, WHICH I OWN AND LIKE A LOT. Sony’s cameras are just gross.

+0.3 more stops of DR is definitely worth the extra $1K. Right?

Also, I didn’t think they could possibly update the Pocket and make it MORE of an ugly duckling. Somehow, they managed to do exactly that.