Caleb Genheimer

Reasons... I dunno... Why don't you try saving my limited time by reading the article to find out!? APS-C mode on the A7S reduces rolling shutter from some of the most severe on any camera, to around the level of a dedicated cinema camera like the FS100. So if you have a shot that benefits from the full frame look but also requires less skew from the rolling shutter, switch to APS-C mode and attach the Speed Booster.

I'm going to say Canon Electronic. Say what you will about Canon's cameras, but their lenses are very good, and widely available. If you do paid gigs it's certainly the Canon, their lenses are widely available to rent all over the place, not to mention CP and ZE Zeiss lenses. IF you end up in a pickle, you can call rental houses and find an EF mount lens last minute, no problem.

Is there any word whether this new glass is inside the new EF to MFT SpeedBooster as well?
 
It wouldn't make sense to release a new product with old glass, but I'm kinda suspicious that that's the case here.

Don't listen to the low-squeeze heretics, 2X squeeze is where it's at :-)

I'm really excited, but I need to see how well it holds up at wider apertures, with shallower DOF, when pulling focus.

Could this be adapted to other projection anamorphics? If so, the Kowa 8Z/16-H is IMO the best 2X out there. It goes the widest, and is very clean and sharp.

Also, if you can, a more professional-looking clamp/rod riser setup would be awesome. I'm not saying yours is bad, but I'd definitely drop a couple hundred dollars extra for a premium setup. I've always thought that it'd be cool to have the anamorphic mounted to the rods on its own riser, with a nifty little elastic drawstring cloth at the back that goes around the front of the "taking" lens to block out light.

Also, PM me if you want advice on electronic follow focus devices. I've sunk around $1K into building a wireless follow focus from scratch, so I've got some experience.

Nice project John.  Though i am a bit hesitant to believe your focus system is miles away from the patented Isco system... :ph34r:
 
Your stills look pretty good, but the video sample doesnt seem to show very much of that anamorphic quality we all want due to the fact that the shots dont seem to show any shallow dof or any proper focus pulls.  What aperture was your zoom set to?  I was surprised that even at 70-200 there was little infocus/defocus separation.  If I went out with my nex5n, a 135mm f4 and an iscorama the depth of field would be razor thin compared to what i am seeing here.
 
When you put these rather costly and heavy £3000 units up against a smaller, more compact £2000 iscorama36, (or £3000 vandiemen rehoused version!), be sure to show the capabilities between the two on full frame, with an 85mm f1.4 wide open.  This is the only way you'll be able to properly show the capabilities against the benchmark 'rama, which will deliver sterling results even wide open!.  
 
I love the look from 2x anamorphics but I think the main issue your anamorphics will struggle with when being put up against an iscorama 1.5x is the loss of resolution from having to crop away so much from the sides.  I believe selecting a higher spec Kowa 35 (1.5 or 1.75) would have been a better choice for usability in our current climate where resolution is very important.  Very few people have access to budgets to rent an Alexa Studio with its 4 perf sensor.  

Oh, trust me, I know ;) Kowa 16-H is the best bar-none. I've got a 37mm MIR-1b, a Konica 40mm as well as 24mm lenses in FD mount from Canon and Tamron . . . so I know how wide it can go. My plan is to eventually snag a 35mm f1.4 C/Y Zeiss, as well as a longer lens (probably the f2.0 135mm) . . . along with an appropriate speedbooster from Metabones. 5 lenses from 35-135mm strikes me as a pretty complete set, and with the speedboster, it's kinda like having 10 lenses.
 
I'm also in the final stages of development on a wireless follow-focus system that sync-focuses the prime and the Kowa, using Arduino-controlled stepper motors commanded by an Android app. But I'm keeping it mostly under wraps until such time as it's fully functional, at which time I'll do a nice write-up with instructions to make your own.

Oh, trust me, I know ;) Kowa 16-H is the best bar-none. I've got a 37mm MIR-1b, a Konica 40mm as well as 24mm lenses in FD mount from Canon and Tamron . . . so I know how wide it can go. My plan is to eventually snag a 35mm f1.4 C/Y Zeiss, as well as a longer lens (probably the f2.0 135mm) . . . along with an appropriate speedbooster from Metabones. 5 lenses from 35-135mm strikes me as a pretty complete set, and with the speedboster, it's kinda like having 10 lenses.
 
I'm also in the final stages of development on a wireless follow-focus system that sync-focuses the prime and the Kowa, using Arduino-controlled stepper motors commanded by an Android app. But I'm keeping it mostly under wraps until such time as it's fully functional, at which time I'll do a nice write-up with instructions to make your own.

Here's what I got. It's mine, so you can have it if you want. I've already done this video, but it's just random extra footage that I had sitting around, I'd love to see it paired with some more intentional footage.
 

I think the big secret is a Metabones Speed Booster that gives the GH4 hybrid tea/coffee making features.

Almost all GH2.

Aw man, he's been working on this?!   ;)  I'm still waiting for an expansion to the FF58/TRUMP lens line. 2X anamorphics have been teased, and a set of primes, and "flaresex modules" (I don't even know what flaresex is, but I want it). 
 
I'm starting to look at $4K Iscoramas and $6K LOMO sets . . . It's fun to look at, but it makes my wallet itchy.

Me too,
 
I've been tempted to a 200 quid budget kino, no dimmer but switchable banks... if i get it I'll let you know how it is.
 
I've heard the knock-off HMIs aren't worth the danger!!

Cinema5D had a famous anamorphic thread which ticked along very nicely for 2 years until it died. I'm a big fan of sticky things :)

Get both front and rear clamps, well worth the extra price. I have the same lens you have with Redstan clamps. Having the Redstan clamps with the anamorphic will increase it's resale value considerably, should you be worried about such things.

Ask him if he still has 0.4 ATX Tokina diopters for sale. They're the best diopter out there, and they're not getting any easier to find. He had some when I got clamps, so I got one, and let's just say I'm never getting rid of it, even if I do upgrade anamorphics.

This, right here. Blackmagic just took a dump on everything offered by the competition that's north of $6500. I mean, I have to essentially factor in a 1080p monitor, an audio field recorder and a v-mount battery solution if I compare the URSA to anything else. Add to that the (likely) ability to upgrade my sensor . . . wow. URSA is a heavy woman, but she sure as heck ain't lacking.

Geeze, lay off it a bit. Everyone's rather polarized here. We haven't seen jack squat out of most of these cameras, GH4 and A7s included. 
 
1. Just because the GH4 does 4K and is a lightweight Mirrorless doesn't mean there's no place for a 7.5KG camera.
 
2. This new URSA, as Andy Lee pointed out, ticks an awful lot of boxes, even if it is heavy. 
 
3. It ditches that darned awful BMCC form factor.
 
4. I see physical buttons, thank the Lord.
 
Let's not condone or condemn a thing until all this has been tested in the field.

Geeze, lay off it a bit. Everyone's rather polarized here. We haven't seen jack squat out of most of these cameras, GH4 and A7s included. 
 
1. Just because the GH4 does 4K and is a lightweight Mirrorless doesn't mean there's no place for a 7.5KG camera.
 
2. This new URSA, as Andy Lee pointed out, ticks an awful lot of boxes, even if it is heavy. 
 
3. It ditches that darned awful BMCC form factor.
 
4. I see physical buttons, thank the Lord.
 
Let's not condone or condemn a thing until all this has been tested in the field.

Geeze, lay off it a bit. Everyone's rather polarized here. We haven't seen jack squat out of most of these cameras, GH4 and A7s included. 
 
1. Just because the GH4 does 4K and is a lightweight Mirrorless doesn't mean there's no place for a 7.5KG camera.
 
2. This new URSA, as Andy Lee pointed out, ticks an awful lot of boxes, even if it is heavy. 
 
3. It ditches that darned awful BMCC form factor.
 
4. I see physical buttons, thank the Lord.
 
Let's not condone or condemn a thing until all this has been tested in the field.

Geeze, lay off it a bit. Everyone's rather polarized here. We haven't seen jack squat out of most of these cameras, GH4 and A7s included. 
 
1. Just because the GH4 does 4K and is a lightweight Mirrorless doesn't mean there's no place for a 7.5KG camera.
 
2. This new URSA, as Andy Lee pointed out, ticks an awful lot of boxes, even if it is heavy. 
 
3. It ditches that darned awful BMCC form factor.
 
4. I see physical buttons, thank the Lord.
 
Let's not condone or condemn a thing until all this has been tested in the field.

Geeze, lay off it a bit. Everyone's rather polarized here. We haven't seen jack squat out of most of these cameras, GH4 and A7s included. 
 
1. Just because the GH4 does 4K and is a lightweight Mirrorless doesn't mean there's no place for a 7.5KG camera.
 
2. This new URSA, as Andy Lee pointed out, ticks an awful lot of boxes, even if it is heavy. 
 
3. It ditches that darned awful BMCC form factor.
 
4. I see physical buttons, thank the Lord.
 
Let's not condone or condemn a thing until all this has been tested in the field.

This, right here. Blackmagic just took a dump on everything offered by the competition that's north of $6500. I mean, I have to essentially factor in a 1080p monitor, an audio field recorder and a v-mount battery solution if I compare the URSA to anything else. Add to that the (likely) ability to upgrade my sensor . . . wow. URSA is a heavy woman, but she sure as heck ain't lacking.

People make real films with Arri Alexas and Red Epics
this has a similar form factor and very good specs so I do really think indie film makers will jump all over this
 
is it is very very cheap !
Black Magic have seen what people want and designed a great product that film makers will want -
 
This camera is aimed quite squarely at film makers - I want one!!

Geeze, lay off it a bit. Everyone's rather polarized here. We haven't seen jack squat out of most of these cameras, GH4 and A7s included. 
 
1. Just because the GH4 does 4K and is a lightweight Mirrorless doesn't mean there's no place for a 7.5KG camera.
 
2. This new URSA, as Andy Lee pointed out, ticks an awful lot of boxes, even if it is heavy. 
 
3. It ditches that darned awful BMCC form factor.
 
4. I see physical buttons, thank the Lord.
 
Let's not condone or condemn a thing until all this has been tested in the field.

This is what I've been waiting for. 25mm at f2?! I'm there.

thanks for the comments guys.  all noted.  and additional focal lengths are in pipeline.  I'd hoped for them to be available sooner, but it's taking longer to develop than I'd expected.  looks like possibility of a 40mm and a 25mm, both in f2 aperture in the next few months.