Tim McC

The Second Signal was shot on a GH5 with a Sankor 16c in front of a Nikkon 50mm f/1.2
I want to thank Andrew Reid and everyone on this forum that has helped me over the years to figure out the technical challenges of shooting anamorphic on a budget!

Just a reminder:
You'll get a massive vignette if you use 25 mm M4/3 lens with a 2x anamorphic adapter.
The widest you you could go is 42.5 mm

This. Topic. Again. Is 4K good? Do we need 4K? I wrote budget 4:3 4K, because the next camera that can do native 4:3 anamorphic is the URSA Mini. But let's not push this conversation to off topic.
IMO, try to search after AGFA 1.5x anamorphot commonly known as Moller 19/1.5x, it's the focus through version of the Moller 8/19/1.5x. Cheaper than the Isco, quality wise: really sharp!

Sankor 16c with an SLR Magic Rangefinder in front of a Nikon 50mm 1.4

Shot on the GH5 with a Sankor 16c in front of a Nikor 50mm f1.4

Shot on the GH5 with a Sankor 16c in front of a Nikor 50mm f1.4

Shot on the GH5 with a Sankor 16c in front of a Nikor 50mm f1.4

Sci fi short, shot on Iscorama and Contax Zeiss taking lenses + Original 2.5K BMCC

That ought to work. A RIg here showing one. Pretty big setup though for a H16.
 

Breaking news: Canon responds to the Nikon's move by reducing the 4k crop by a factor of 0.1x. However DPAF will be disabled in this mode.

I had the original 1.33X (the big one) and on my Sony A7S (+2) it worked well with pretty much any 50mm I threw it on.  I had to close down though to at least f2.8 or f4 to get any workable sharpness.  Great adapter for easy of use.  I shot mostly with a DSO which is a Helios 44-2 and worked perfectly

I just posted this on my channel, it's my graduation project at film school here in Canada. Shot on a pair of Iscos pre-36 and wider shots on the Sigma 18-35 + cinemorph.
 
 

Man I love the white vignetting & some of us feel it is part'n'parcel of using anamorphics -  it recently appeared in "You Were Never Really There" Dir. Lynne Ramsey (great film, great framing, great narrative).
Embrace the White!

Tito didn't invent this, it's been talked about on here quite some times previously. But good he made a video to let people know!

BTW some people actually like that characteristic  .

That is some pretty amazing footage. Grats.

I shot this film with the Iscorama Cinegon in front of a Nikon 35-70mm f2.8 on the Blackmagic Pocket (with speedbooster).  
https://www.youtube.com/watch?v=zUKUjofFbI4
 

You want to audition as a mod or something?
At least get it right.
The Atlas lens is a completely different thing https://learn.sharegrid.com/sharegrid-lens-test-atlas-lens-co-orion-series-anamorphic

I had the same question a few months ago, and ended up going with the GH5.  I was specifically attracted to the anamorphic mode to use with a 2x lens (Sankor 16c + SLR Magic Rangefinder).  The GH5 is the first camera I've used the Sankor with that got an acceptably sharp image.  (And I don't have to cut off the sides, I can see the image de-squeezed in the camera, etc.)  Yes, I would much rather have ProRes (or raw) files than the compressed codec the GH5 gives me, but the overall usability of the camera for anamorphic shooting is absolutely fantastic.

This would be completely acceptable as production ready footage. (IMHO)

One of the coolest Sankor 16 demos I've seen.  This is how you get a lot of anamorphic on the cheap.  The model helps too.
 

Dynamic range is more than just counting the number of grey shades at the end of a chart.
It's how colour is handled, the roll off, the codec, noise, a lot of stuff.
C5D say nothing about what is usable, what isn't.
My Leica M9 came out 7 years ago and it has more usable dynamic range in the raw stills than the latest full frame sensor from Sony in the A7S II (which remember, Sony claimed had 15 stops!! Yeah right)

"Like I say, I have loved my time writing EOSHD but I am thinking I might soon stop. What has tainted it has been the sheer snobbery of some of that pro-video industry. The poor attitude so many pro videographers in particular seem to have towards newcomers and enthusiasts and artists."
For what it's worth, yours is the only website that feels authentic.  We all know the internet is now just a brown stream of corporate content, so to have a place where things are real is welcome.  Enthusiast used to have places to go in the past untainted by monied nonsense.  
Through a confluence of timing, ambition, and opportunity, and attitude, yours is a place that's remained "clean" from all of the corporate PR clutter.  No small feat in this modern life.
I'd suggest that if you decide to bow out as a guy writing content, maybe become the creative director --and then bring on board a select like-minded-few that might be willing to provide the same ethos that makes this place so special.  Or curate the more interesting organic bubblings that arise from the forum and turn those into front-page blog entries featuring input from the main players of the thread.
As for crusty snobby "pros" that bitch about people with "toys" that "don't know the first thing about making a film"... well, that sort of curmudgeon is a scared little snowflake because they rest their ego on the tech, which is always getting easier to use and better.  Not exactly the best foundation in the digital world.  There's enough of them to make a blizzard sometimes, but ultimately snow melts, doesn't it?
 

The beauty of the Pocket and the original BMCC was that enthusiasts and young filmmakers could afford the cameras... these are the same people who are buying the Ursa now. Those Ursa Pro owners will eventually graduate to a Red or maybe an Alexa and that Pro will collect dust or be sold on the used market. Without a base cinema model with updated specs... it doesn't have to be 4K, but 2.5K at multiple frame rates, maybe no need for IR filtratation, and a better screen and BM will secure the next "generation" of filmmakers to climb the BM ladder on their way to an Alexa.

I'd like to see: 
"The New Ursa Micro"....
- MFT Sensor. 
- Can record in 4K, but has a "golden" 2.8k mode at up to 60fps. 
- Tiltable and Removable Micro Video Assist (so you can put it in a convenient place on a pistol grip gimbal, or monitor from strange angles if adapted for action shots). 
- Pro option Ursa Micro slots into an accessory which gives you audio options and a handle. 

The BMPCC was the best $500 I ever spent.  I'd gladly pay in the $1500 range for a Pocket mk 2. that does 4k in prores, even if the sensor stays the same size.  Higher frame rates (like the GH5) would be nice too.   The BMPCC fills the niche that 16mm film left behind, and can use all the same lenses.  There has to be a market for an updated version.