Tim McC

Very good looking and you did a good job on focussing as well. Fun to watch.
I liked the zebras and the next shots with the shadows... and all the others as well.
Also waiting for some new clips with your rare Cinegon :)

A Day at the Zoo with a Kowa Prominar 16-D in front of a Nikon (e) 50mm f/1.8 using the Redstan clamp.
 

:) lovely one, very nice, keep sharing

i'm holding out for the 4k baby mode

goes to show, the iscorama is ready for whatever new resolution marketing the technology companies throw at us in the next 10 years!  

I'm never selling mine. I want to be buried with it. Rich: All the more reason to make a superior cine-mod !

So, as mentioned a few weeks back, I've just completed the first episode of a webseries shot with anamorphic lenses and MagicLantern raw. For this one, we used a LOMO Foton-A, and there's only ONE Iscorama shot. Episode 2 was almost entirely Isco, except for the very beginning. As soon as it's ready, it'll show up here too.
 

 
Don't forget to enable the english subtitles, as all dialogues are in portuguese. :P
 

http://www.youtube.com/watch?v=Aa9O5M7d17M&feature=youtu.be
 
Shot in beautiful New Mexico with an Iscorama Cinegon in front of a Dog Schidt Optics FF58 (2.8 ovoid aperture).  Some additional shots are with the Iscorama + a 200mm Vivitar lens...
 

This looks great!  I would watch this movie.

Wanted to share some stills from the Trump on my D800 from yesterday morning.
 

 

 

 

 
Yay nice 2X oval bokeh :)

I just shot with a LOMO Foton A last weekend, also raw, and also 50D, and had A LOT of trouble as well. Just a few times I had problems with continuous, but the camera crashed every now and then, and took a little while to get it running again. I was using a build from mid September
 
Even with all the problems, I didn't get any pink or corrupted frames.
As soon as the short is ready, I'll post it here too. :)

Yes, please!  Where can I sign up for the FF35mm and FF90mm?

That's actor experience (and the talent of your AC).  Believe me, I know.  You have to either alter your desired aesthetic to allow them to be spasmatic and overly-animated or you make them do it again.  I've noticed if they do a lot of stage and live performance or if that's where a majority of their experience is at you're going to have problems with them hitting marks in any composition.  The good ones know, however, small moves read and are what is appropriate for film.
 
They know instinctively when you put that CU lens on and they crave their CU.  Hinting that you may have to stick with wider in your coverage of them because they just can't hit their mark or appropriately scale their performance and odds are they're going to work on improving their craft.

OK, Julian, you talked me into buying the DVD... and you were right: absolutely gorgeous!   Abstract anamorphic compositions and shallow depth of field combined with naturalistic lighting schemes to make a thoroughly convincing universe.  This worked really well with the rambling and very realistic dialog...
 
I couldn't help thinking that it would have been better set in the 70's, though.  The costumes, set design, choice of cars, etc. all screamed 70's.  But then all the 2008 election stuff in blaring on the soundtrack at all times which was strangely anachronistic.  It seemed as if the director wanted to place the movie in 70's era Boston, but budgetary limitations forced him to go with contemporary New Orleans, so then he decided to update the story to parallel the election and financial crisis at the last minute...  

Two points I want to add.
 
1.  Will this be another Blackmagic Design over-promise and under-deliver?  Another huge shipping delay could occur because of something unexpected happening.   For example, they get more orders than expected combined with some sort of supply chain delay cause problems again.  
 
2.  I agree with Vidrios and just want to reiterate that regardless of Black Magic's history of over-promising and under-delivering, these are still truly amazing times to be a filmmaker.  Just a few years ago we dreamed of shooting images of the quality you can get on a  Canon T2i.  Now, you can get a used T2i for under $400!  WTF?  You can't even get 4 minutes of 16mm film processed and transferred to HD for $400.  See http://www.colorlab.com/ for pricing on that.  
 
Anyone that is upset about Blackmagic, Canon, Sony, Red, etc. should take a step back and calm down.  These are exciting times and we should all be grateful for all of the tools available to us.  Aren't you shooting on something already?  If you think the tool is going to make you a better craftsmen, think again.  Good filmmakers can take whatever tool is handed to them and make something good.  
 
But if you are still truly upset, then, go make your own camera.  If you really know what's best and it's easy enough to criticize someone else, then why don't you go and fix it and go be a millionaire selling the world's greatest camera.  Yes, this previous statement is a little sarcastic but it's really meant to put it all in perspective.  I really believe these companies are doing what they think is best.  You can't please all of the people all of the time.  Camera makers and anyone that makes anything has to make choices that won't be perfect for everyone and maybe not even for most people.
 
Either way, thanks to Andrew for this blog, thanks to all the camera makers for these awesome tools, and thanks to all the filmmakers that share their knowledge.  Truly amazing times.

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!
 
 
 
 

Firstly there is a multitude of problems that were allowed to happen, that has had this announcement made and uncharacteristically these comments are made by the two people often associated with destroying Hollywood in the first place, whilst both Lucas and Spielberg created moments in cinema that yielded the terminology 'blockbuster', they are not to blame entirely.
 
The studios having let the dreamers of the 70s have their way, in order to stop their film industry falling apart, an industry that no longer knew what to do with the fast changing cultural landscape of the era, decided to play observer. In observing they saw a formula and took the reigns back, what they didn't observe is the 'why' and focused only on the '$' these films made. Having run much of the Hollywood gauntlet under this ideology worked until the era of todays audience kicked in, or more importantly speaking the age of the internet. Today audiences are in charge and the film industry is having to fight back against many other forms of entertainment on many different portals out there, what is making it worse in this 'tailored to my own choice' era, is that again the industry isn't wanting to understand or learn from, so they keep upping the event tentpoles and not the culture of what cinema has been for a 100 years.
 
Originality costs today, that is the fundamental reasoning behind remake culture, the last studio original fable was Inception and Nolan had to earn that, and did so with the ROI of TDK and the promise that he would also do TDKR. The same goes for Spielberg, just because he has made a lot of hits doesn't mean they will bow to him, the business is about the business of film, so for Schindlers List to be green lit, he had to sign for JP:Lost World and when you watch that film, you can tell right away his heart is not in it, in any of it, because he had to make it and not wanted to make it.
 
As for Lucas and his Red Tails nightmare, the business told him 'no one would be interested in that particular story, it was the business talking and he didn't want to listen, this was both right and wrong. Lucas accused the industry of being racist and this was a huge error on his side of reasoning, a little blind sided and more in line with a trouble maker, than as a bonafide reason. He should have understood what the industry was saying or just financed it himself, which he ended up doing.
 
At the Berlinale this year, I spoke with a lot of buyers at the EFM (European Film Market) as I have a UK thriller script set in the Afro Carribean UK community and even though it's not about the culture of these people, the first thing more than half of them told me was, we don't buy black stories, when I probed why, rather than assuming the worst, they said we cannot sell them, it was that simple, they were being truthful about sales which is what they do and they know what they are talking about, they were not being racist.
 
What is clearly missing and has been for a long time is what the culture of cinema used to be about that led to an industry being fruitful and now that there are signs of it becoming fruitless, no one wants to understand the hierarchy of the failure that has led to that.
 
If anything, the people, as in the audience, well they are in charge now right, not the studios, and are dictating what is being made by them. Good you might say on one hand, well actually it is bad on the other, because for every $1b, an empty and void of content Iron Man type movie makes, this only guarantees to Hollywood that that is what the people want, hence why they will only give their energies and resources to keep making them. However, if only those type of movies are shown, what choice do we have? It's a vicous circle, and until once more the industry collapes, and again they ask the creatives to give them back an industry again, it will be too late.
 
We cannot have the 70s again, and Hollywood cannot rely and hope the same can be repeated again, because those that can have gone on to other portals now to deliver them, furthermore, watching cinema and that magical artful experience of having a voice shared by many at the same time, a voice that matters first, is truly if not already lost right now.
 
A New Hope is more than needed, both culturally, creatively and most importantly, in alignment with an industry willing to listen and apply.
 

This is a must read, if you haven't already...
 
http://davidbordwell.net/books/poetics_10cinemascope.pdf
 
He talks in detail about the compositions favored by the format.  

This is a must read, if you haven't already...
 
http://davidbordwell.net/books/poetics_10cinemascope.pdf
 
He talks in detail about the compositions favored by the format.  

This is a must read, if you haven't already...
 
http://davidbordwell.net/books/poetics_10cinemascope.pdf
 
He talks in detail about the compositions favored by the format.  

Each moment I read this article I felt more optimistic about my own future and the future of humanity :)

http://www.ebay.com/itm/200894486604?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2649
 
I'd like to play with a Lomo, but this is getting outside of my price range....

Not the jar way - the focus ring part with the ribbing and printed focus scale is a solid part. you need to remove the the ring (with the "isco-gottingen iscorama anamorphot 1.5 - 36" printed on it) on the inside of the 72mm thread. as you twist it, it unthreads from the same thread as you would attach diopters. you cannot physically grasp the ring due to it being recessed into the thread so you need to press against it while trying to twist it at the same time - in the same direction you would untwist a diopter from the 72mm thread.

QuickHitRecord had to use some rubber gloves in order to allow him to spin the ring - otherwise there isnt enough friction. mine came away slowly by hand, but it would have been quicker if I had used some rubber gloves. Make sure you mask off the front element with some masking tape to be sure you dont scratch the element.