nahua

@Andy Lee - will the Century Optics 0.7x wide for Panasonic DVX100 work?  Also will it work with anamorphics to give a wider angle of view?

​Damn that thing looks huge.  Can't wait to see more tests.  I'm waiting for mine I hope to get it soon.  Thanks again Cosimo for setting up the group discount!

​I'm really bummed by this.  Might have to buy an Isco then.  I was really looking forward to this working with my Kowa.

Testing out lenses with the Iscorama 36 wide open.  I really want that separation from the background.  It's easy now with the Metabones Speedbooster EF.  There is something to be said about full frame lenses used with the Speedbooster vs micro 4/3rds native lenses.  Also the Iscorama is the sharpest of the anamorphic adapters, although there are still some lenses that don't do well wide open.  Shot on a GH4 4K (before v2.0 firmware, 16:9).  Iscorama minimum distance is around 6 feet, half that with the Tokina +0.4 diopter.

Is it even possible to mount a focus gear on this?  Since it seems the focus element moves so much?  Can this fit a Sankor 16 or B&H Kowa?  I'd hate to have to get a Cinelux even though the results looks so good.  Thanks for all tests guys!

I give you a ton of props for making this.  As hard as it is (yeah I feel your pain on working with diopters) I think this is a good effort.  Any type of filmmaking is very difficult.  You got that vintage look and I think it works.  Like the church interior scene, looks the best wide.  The office scenes are all skewed, wish you got those right because the bokeh from the city lights is nice.  Keep working at it!  I think you have a good eye, just get a friend to carry stuff for you or help position lights.

@Andy Lee - Thanks I'll look into it.  Just wondering about the F4 aperture, although the lens must be smaller?  The Tokina is so large I need to use it on rails.

@Inazuma - Thanks!  I wanted a more reddish look so I used "cloudy" although I did try to edit the color in resolve.  It just didn't have the pop and look of a night shoot when color corrected to incandescent.

Based on Andy Lee's recommendation I went and bought a Tokina ATX 28-70mm zoom lens.  I tried it with my GH4 + Metabones Speedbooster + Kowa 2x Anamorphic.  The lens has some interesting character.  I think it's more "soft focus" and not so contrasty as most modern lenses.  The only thing is it doesn't flare enough.  I wish it was just a simple single coated lens.  I wonder if there's any zoom lens that isn't multi-coated but offers the same F2.8 or better range.  I really debated between the Tokina and Sigma 18-35mm, but the Tokina does have the best zoom range that's most usable for anamorphic use.

SLR Magic +0.33 and +1.33 achromats are 77mm.  Tokina +0.4 is 72mm size.  How you fit them on the front of your anamorphic depends on how large the front element is.  You can get away with the Tokina if you are using longer telephoto taking lenses.

Tokina +0.4 are 72mm filter size

You can check out my extensive test using the metabones speedbooster on a GH4 + SLR Magic Anamorphot.  You can see the clear difference in FOV and a little with depth of field.

@richg Always the expert at anamorphics!  I agree with using the fastest lenses available for the GH4.  I'm shooting F1.4 or faster with speedbooster.  Especially effective with longer focal lengths for closeup shots.

I have a Sankor and Kowa B&H, and my Helios still has to be at F2.8 to get a "sharp" picture.  To get a softer picture with more glow and less contrast, then I'll keep it wide open at F2.  I think the only anamorphic I haven't had a problem is the Iscorama.  Damn thing is sharp no matter what lens at the widest apertures.

Is it in focus though?  Some lenses require F5.6 or F8 to be in focus.  Even the coveted Helios 44-2 requires F4-5.6 to be sharp on some anamorphics.  If possible try the lens before you buy.

I don't preview at max settings.  Since it's simple editing, I usually set it to 1080P (reduce scale of footage to 50% in Effect Controls -> Motion -> Scale).  Then I set the preview setting to 1/4, it's the pulldown menu on the window pane, bottom right of the window.  I just remember to render at max settings and not the preview setting.  It's not perfect and the detail is gone, but for quick editing it works very well.

I edit on a Mac Tower w Nvidia graphics card so it will be faster than any laptop.  But I've been able to do quick edits on my Macbook Air with the GH4 4K files.  The 4K files are really not the problem, you'll get the same performance if you shot 1080P 200mbits. 

Like I said in my post before, I use the Final Cut Pro XML option between Premiere Pro and Resolve.  If you really want proxies, you could just render in ProRes422 Proxy at 1080P, then render, edit in Premiere Pro, replace the footage in Premiere Pro and export the XML to Resolve.  I've never done it that way, but it's worth a try.  To replace foorage in Premiere Pro, click on the footage you want in the bin, then click the timeline footage and pick replace -> footage from bin.  So you have two sets of footage - original 4K from GH4, 1080P ProRes422 Proxy.

I really hope this helps out!  Good luck on your project!

As a seller it's already checked for you.  So they trick you into selling with this option.  They try and make it so everyone will be fine with this option.  "Ship it and forget, all will be taken care of" kind of thing.  It's such bullshit.

I like my Tiffen Vari-ND 82mm on the 12-35mm X lens.  Works really well especially compared to cheap stuff like the Light Craft Workshop junk.  Spend the money and you will get good results.

I'd sign up but I want confirmation that this works on a Bell & Howell Kowa 8Z.  I don't want to have to buy another anamorphic for this to work on.  Also more pictures of it on different anamorphics like they claim it'll work on.

It's really sharp, I just tested shooting at F1.4 all the time.  It's really hard to focus at F1.4.

Minimum focus is 5 feet.  Really need diopters for close focus.  This is common for all 2x anamorphic adapters.

I just got mine for around $500 a few months ago.  Here's my test with the new GH4 4K PHOTO mode v2.0:

I love the vintage look and now I can shoot true anamorphic 4:3 with it!

Sankor can be had for as little as $150 on ebay.  If you're just starting out you don't need a mint one really.  And any of the 2x adapters are all similar.  Yes they are heavy and will strain the lens mount a little, but it really won't make a difference.  The speedbooster makes for a great mount and the Nikon lenses are old style metal housing which is really strong.  If anything you'll have a hard time focusing with the weight on the lens.  But you have to dual focus anyway (one for the Nikon, other for the Sankor).

Most projector lenses are a minimum of 40mm m4/3 (85mm full frame).  You still might get a vignette on the corners.  50mm w/ speedbooster on the GH4 4K will come out to around 85mm FF equivalent so you'll be right there.  If anything shoot with the new version 2.0 firmware for the GH4.  Then you can use the new Photo 4K modes, and if you shoot 1:1 (2880x2880 square) then you can stretch and crop the image using the center of the lens.  This will reduce the vignette quite a bit and maybe you can shoot wider.  You can look up Luke Neumann on youtube and see his quick tutorial on how to use the version 2.0 4K photo modes.

Remember the speedbooster doesn't have AF.  If you're fine with manual, then go with the speedbooster.  But in my experience the Panasonic 12-35mm is one of the best lenses ever.  Fast AF, especially with the GH4, in both photo and video.  F2.8 is good not great in low light, but I consistently shoot ISO 1600 at F2.8 indoors and get great results.  OIS is really good too, especially handheld video.  I believe if you get one lens, the 12-35mm is the best (35-100 would be next).  Yes the native m4/3 lenses are expensive, but the savings in weight is great.  I like lightweight, and if you're shooting all day you'll appreciate it too.

Also remember that the speedbooster is more about the rendering of the image.  Do you want shallower DOF similar to APS-C sensors?  Best way is with a fast prime + speedbooster.  If you're more run-n-gun, then it might not matter so much.  It is expensive for what it does, but you get a nice look.  It all depends on what you shoot and how you want the image to look like.

What I do is edit everything in premiere pro.  I use the scale option in the motion section of the effects for the clip, then copy it to every clip.  After the edit is done, I duplicate the timeline, select all clips and pick "remove effects" which will remove the scaling.  Then I export the XML.  Import into Davinci, set the frame size, and then scale the clips to the frame size. 

BTW I think you should use Davinci at the end for color correction.  I find it way more powerful than any of the tools in premiere pro.  Just my thoughts, I hope this helps!

Damn that went for cheap.  Should be in the $350 range.

@richg101 - That's real nice quality work you have there.  I'm going to order that FF58+ FF38 combo soon.  I love my Helios 44 but I wish it had a wider FOV, especially with the new Metabones Speedbooster on GH4.  Is the Trump the only one with focus gears on it?  That look like a removable focus gear in the pic.