Caleb Genheimer

For me, I love the look coming from your DS lenses, and would love to see an anamorphic with a decent squeeze (no 1.33X BS) added into the mix.
 
BUT . . . I need a set of lenses that match. This above all else is what I'm looking for right now, a set of at least three matched lenses faster than f2.8. 
 
If you can muster a couple more lenses in other focal lengths, to go along with the FF58, I'd be VERY tempted.
 
If you add to that set a single-focus anamorphic (or anamorphics), you've got me, hook line and sinker for $1500+, no question.

For me, I love the look coming from your DS lenses, and would love to see an anamorphic with a decent squeeze (no 1.33X BS) added into the mix.
 
BUT . . . I need a set of lenses that match. This above all else is what I'm looking for right now, a set of at least three matched lenses faster than f2.8. 
 
If you can muster a couple more lenses in other focal lengths, to go along with the FF58, I'd be VERY tempted.
 
If you add to that set a single-focus anamorphic (or anamorphics), you've got me, hook line and sinker for $1500+, no question.

For me the importance of oval bokeh actually out ways the need for severe horizontal flares. Stretched bokeh is something impossible to do in post and is what truly makes a 'Kubrick-stylie' cinematic image in my opinion. I can't wait for this lens to be released, I have trawled for years looking for a reasonably priced iscorama 36 with no luck!

To me, it's all about the anamorphic bokeh. Standard bokeh makes me think of a Dunkin Donuts commercial. Anamorphic bokeh makes me think of a painting.

I'm scheduled to go the event in LA next week, will be curious to see what the status is.
Probably cameras inside a glass case.

I save both squeezed and untouched 1080p versions of my stuff. Stretching it out can give higher resolution without looking much softer, because the vertical lines of resolution are still sharp as a tack. Add a little grain, and you've got a really nice 2.5K image.

http://vimeo.com/68443110
 
This is my new graphic, in animated form. I created and animated it in PowerPoint (I've been animating in PowerPoint since elementary school). I then played the animation on my Dell 30" monitor and recorded the monitor with my GH2, Kowa anamorphic, Konica AR 40mm and Tokina diopter all on a tripod. Then I moved the monitor out of the scene and recorded various flares with a flashlight. Brought it all together in Final Cut Pro, set the flares as additive layers, and added some grain overlay effect. I think the outcome is something clean-cut but with a dash of organic mojo that is difficult to achieve with an all-digital animation. There's no faking those real flares!
 
 
 
 

http://vimeo.com/68443110
 
This is my new graphic, in animated form. I created and animated it in PowerPoint (I've been animating in PowerPoint since elementary school). I then played the animation on my Dell 30" monitor and recorded the monitor with my GH2, Kowa anamorphic, Konica AR 40mm and Tokina diopter all on a tripod. Then I moved the monitor out of the scene and recorded various flares with a flashlight. Brought it all together in Final Cut Pro, set the flares as additive layers, and added some grain overlay effect. I think the outcome is something clean-cut but with a dash of organic mojo that is difficult to achieve with an all-digital animation. There's no faking those real flares!
 
 
 
 

http://vimeo.com/68443110
 
This is my new graphic, in animated form. I created and animated it in PowerPoint (I've been animating in PowerPoint since elementary school). I then played the animation on my Dell 30" monitor and recorded the monitor with my GH2, Kowa anamorphic, Konica AR 40mm and Tokina diopter all on a tripod. Then I moved the monitor out of the scene and recorded various flares with a flashlight. Brought it all together in Final Cut Pro, set the flares as additive layers, and added some grain overlay effect. I think the outcome is something clean-cut but with a dash of organic mojo that is difficult to achieve with an all-digital animation. There's no faking those real flares!
 
 
 
 

Ah, I saw Redtails and I think it was the worst movie I have ever seen . I don't think it would be good enough for tv .
So dumbed down,it was insulting to a really great story.
Tim

If this tool can create a prores version at the same time that would be awesome! 
 
Work with the prores and connect to the dng for grading.

you guys are so good sellers. Should I send you my Mark III too?  :lol:

Do not listen to this man! I will take them for free, no need to include $10.  :D

Do not listen to this man! I will take them for free, no need to include $10.  :D

Man, GH2s are such garbage now.  You guys should sell them immediately.  To me.  For $10.

I'll agree totally, the original EF BMCC is here and gone. That's exactly what I mean by turmoil. All of this is changing so fast, and yes that is a good thing in many ways . . . but a tricky thing to navigate as someone hoping to upgrade. I haven't bought any Blackmagic products yet, and I very well may not. But I maintain that sensor size IS an important factor, and furthermore that fullframe is not always the best option (of course, a fullframe sensor with various crop modes like the ML5DIII essentially covers all bases). I'm still hoping (probably in vain) for something with better controls than both the Blackmagic and the DSLR cameras, but that's just me. After having gone mirrorless mount, I'd rather not give that up. The adaptability is incredibly useful. 
 
For those with Canon cameras, this is an incredibly good thing as they can start shooting some really nice RAW footage if they want. But for someone with zero Canon gear wanting to get into RAW video? I guess I don't think I'd advise them to go out and get a MKIII for that. I know that there will "always be a better cam tomorrow", but in this case especially, I don't think we'll have to wait long. Blackmagic cracked the door, ML just opened up the floodgates. Any new cameras henceforth will have to seriously consider including RAW as an option. Otherwise, why would anyone upgrade to . . . say . . . a 7DII/5D4/whatever? They already kill in stills mode. All of this is good, but I'm going to wait until there are a few more out of box RAW-capable cameras out there before I pick my poison (so to speak), because once I get one, I'm going to be using it for a long time. I can't afford to switch bodies on a whim every time something new hits the fan.

I for one will be waiting in the wings with my trusty GH2 until the dust settles. This RAW camera turmoil isn't over by a long shot. I personally doubt it will seriously hurt Blackmagic in its current form. The truth is, the Blackmagic cameras and Canon cameras are completely different animals in more ways than just the codec. Add on top of that the fact that the Blackmagic cameras are purpose-built for RAW right out of the box, and it really is hard to say they'll take a hit from this. If faster CF cards come out and MagicLantern can really get this nailed down and reliable, then maybe. But even then, it is a modification-type solution, not a purpose-built RAW camera. There's something very appealing about recording straight to SSD. There's something very, very appealing about global shutter. And on top of that, full frame photographic is not an industry standard and will not play very nice with most cinema glass . . . whereas the Blackmagic 4K cam certainly will. I'm not saying that what MagicLantern has done is not significant, it is. But when something is this amazing for free, a better solution will probably show up as a product soon after. In my book, Blackmagic are slowly moving into prime position to deliver a true knockout hit. Sony could certainly do the same tech-wise, but they price too high. What MagicLantern has proved is that Canon could tech-wise as well, though they either weren't smart enough to implement this or were unwilling to do so for some reason.
 
So I'm going to sit tight and see how it plays out. Sooner or later a real pro-quality and full-featured  cinema RAW camera will be available from one of these companies. Until then, I'm going with the GH2. It was and still is very inexpensive, yet perfectly capable in the right hands, as many of these cameras are. But I've become increasingly aware of other features besides RAW that are almost more beneficial, like built-in ND, XLR or similar pro audio inputs, Zebra, Peaking, and alternative aspect ratios (for anamorphic). Such things seem basic because they've been around for a while, but their benefit is not lessened by that.

I for one will be waiting in the wings with my trusty GH2 until the dust settles. This RAW camera turmoil isn't over by a long shot. I personally doubt it will seriously hurt Blackmagic in its current form. The truth is, the Blackmagic cameras and Canon cameras are completely different animals in more ways than just the codec. Add on top of that the fact that the Blackmagic cameras are purpose-built for RAW right out of the box, and it really is hard to say they'll take a hit from this. If faster CF cards come out and MagicLantern can really get this nailed down and reliable, then maybe. But even then, it is a modification-type solution, not a purpose-built RAW camera. There's something very appealing about recording straight to SSD. There's something very, very appealing about global shutter. And on top of that, full frame photographic is not an industry standard and will not play very nice with most cinema glass . . . whereas the Blackmagic 4K cam certainly will. I'm not saying that what MagicLantern has done is not significant, it is. But when something is this amazing for free, a better solution will probably show up as a product soon after. In my book, Blackmagic are slowly moving into prime position to deliver a true knockout hit. Sony could certainly do the same tech-wise, but they price too high. What MagicLantern has proved is that Canon could tech-wise as well, though they either weren't smart enough to implement this or were unwilling to do so for some reason.
 
So I'm going to sit tight and see how it plays out. Sooner or later a real pro-quality and full-featured  cinema RAW camera will be available from one of these companies. Until then, I'm going with the GH2. It was and still is very inexpensive, yet perfectly capable in the right hands, as many of these cameras are. But I've become increasingly aware of other features besides RAW that are almost more beneficial, like built-in ND, XLR or similar pro audio inputs, Zebra, Peaking, and alternative aspect ratios (for anamorphic). Such things seem basic because they've been around for a while, but their benefit is not lessened by that.

I for one will be waiting in the wings with my trusty GH2 until the dust settles. This RAW camera turmoil isn't over by a long shot. I personally doubt it will seriously hurt Blackmagic in its current form. The truth is, the Blackmagic cameras and Canon cameras are completely different animals in more ways than just the codec. Add on top of that the fact that the Blackmagic cameras are purpose-built for RAW right out of the box, and it really is hard to say they'll take a hit from this. If faster CF cards come out and MagicLantern can really get this nailed down and reliable, then maybe. But even then, it is a modification-type solution, not a purpose-built RAW camera. There's something very appealing about recording straight to SSD. There's something very, very appealing about global shutter. And on top of that, full frame photographic is not an industry standard and will not play very nice with most cinema glass . . . whereas the Blackmagic 4K cam certainly will. I'm not saying that what MagicLantern has done is not significant, it is. But when something is this amazing for free, a better solution will probably show up as a product soon after. In my book, Blackmagic are slowly moving into prime position to deliver a true knockout hit. Sony could certainly do the same tech-wise, but they price too high. What MagicLantern has proved is that Canon could tech-wise as well, though they either weren't smart enough to implement this or were unwilling to do so for some reason.
 
So I'm going to sit tight and see how it plays out. Sooner or later a real pro-quality and full-featured  cinema RAW camera will be available from one of these companies. Until then, I'm going with the GH2. It was and still is very inexpensive, yet perfectly capable in the right hands, as many of these cameras are. But I've become increasingly aware of other features besides RAW that are almost more beneficial, like built-in ND, XLR or similar pro audio inputs, Zebra, Peaking, and alternative aspect ratios (for anamorphic). Such things seem basic because they've been around for a while, but their benefit is not lessened by that.

Nowhere close, from what I gather, he is keeping mum on the budget, because he got a lot of criticism for how low the budget was on Primer, and he doesn't want a similar reaction. My guess is it is still a very low budget.
 
I'm going to see it in theater tomorrow night, and I've been excited for the past month to do so!

I have this same lens, and JohnBarlow is correct. Depending on the taking lens and distance to the subject, the Kowa can vary from 2X to 1.5X squeeze. That's why when I film people I always crop to 2.40. That way, I can vary the stretch down from 2X if need be.

+1, try to cut some more of the CA. Other than that, I wants more pronounced ovals! Maybe you should throw an oval aperture in there just to be tricksy?  ;)
 
It looks great, though! I hope you offer it with similar coating/flare customization options like the FF58. I wants blue flares! (Yeah, yeah . . . I know. For some odd reason, anamorphic nutters seem to treat flares as taboo . . . loose the snobby hipster attitude, the signature blue flares are cool.)
 
You might also putts around with other lenses just to see if you can find one or two other focal-lenth lenses that it can synch to. I know, that's a tall order, but you never know! something longer focal length might be nice for closeups, especially if it suffers from "mumps" (y'know, if you're too close, it makes faces look fat). 
 
I just had another idea for the FF58 too. You really should get your hands on a proper blue streak filter and do another promo video with that on front . . . I've always wondered just how close a spherical could come to looking like anamorphic with a good blue streak filter and internal oval aperture mod. I suspect that all but the most stickler wouldn't notice a difference.

Ok, seriously . . . I've seen this thing on ebay all the time. It looks insane. big front, short length, smaller protruding rear . . . 
 
Who has actually tried this thing?! I want to see footage or pictures from it. Something about the fact that it pops up again every once in a while makes me wonder if it is a hassle or something.
 
 

2X, apparently: http://www.reduser.net/forum/archive/index.php/t-40248.html

Ammendment: sorry, thought this was the topic for the Production cinema camera, not the Pocket camera. Yes, Assuming a M4/3 speedbooster is released, I think it should work.