richg101

ps. remember to add a 'fast color corrector layer to each clip initially. set output from normal 0-255 to 15-235. otherwise premiere on a mac messes with your image and crushes the blacks.

multiply your 1920 wide figure by 1.5x. = 2880px wide

create a custom frame of 1080x2880, 24fps/25fps when initially setting up the project.

import your footage in and then drag your first clip into timeline. click it and then go to effects tab. on 'motion' deselect uniform scale and set horizontal scale to 150%. bring the rest of your clips in and then right click and 'copy' the first clip. select all the other clips and right click and 'paste attributes'. it will stretch all of the footage by 150%.

otherwise, right click your clips in the preview box and hit 'modify/interpret footage' then there might be a selection for 1.5x anamorphic. i know there is a 1.33x option. if not maybe you can create one?

exporting.. I use quicktime .Mov. H284 compression. 24bit, bitrate depends on the type of footage. frame size =1920x1080. using this frame size means the frame is smaller and black bars get added to the top and bottom. with this there is a perceived detail improvement due to the vertical lines being squeezed. if you want to maintain 1080 tall on the actual image area you need to use uncompressed .mov then set your output frame to match your preview frame(1080x2880)

hope that helps:)

https://vimeo.com/47971206 sample footage shot this evening.

beautiful footage. I retract all my less positive initial remarks from when they first unveiled that giant pc tower sized prototype. the pictures look amazing

yippie! the layout is largely the same meaning the housings i have been creating wont need much modification to accept this new model! I was dreading to see a horribe rework of the shape liek thay have done with that ugly nex f3

http://www.ebay.co.uk/itm/Professional-Photo-Video-Camera-Tripod-with-Fluid-Head-Aluminium-Very-Sturdy-/360481006958?pt=UK_Tripods_Monopods&hash=item53ee57a56e#ht_3037wt_1141

a copy of the fancier model. When it arrives, the fluid head is not as smooth as you would have liked, but after a week of using it, the movement is superb. very smooth with variable drag. Way better than the manfrotto head you mention IMO, and usually im a manfrotto fanboy.

just remember to order a bunch of 30mm m3 bolts and some nylon lock nuts as replacements - the cross bracing is good but is held together with weak rivets. i replaced mine with the 30mm bolts and lock nuts. the tripod is now a dream to use. - they even sent a spare quick release plate in the package

[quote name='Julian' timestamp='1345500492' post='16099']
Looks like a lovely setup.
You say it gives a 2.13:1 ratio, but wouldn't 1.33x on 16:9 give 2.36:1?

[size=2]Just wondering... not ready to invest in another anamorphic yet..[/size]
[/quote]

thanks for the heads up. it was a typo. it is now changed to 2.35:1 /2.36:1.

The wide shot is on a par with the quality of imagery in the first scene of Inglorious Basterds. its like a moving painting

[quote name='QuickHitRecord' timestamp='1345489015' post='16090'] I like this more than anything that I have seen from the Iscorama 36. Thanks for the share.
[/quote]

My thoughts exactly. It is simply the best dslr+'non modern cinema standard' anamorphic footage I have seen. If anything some of the nicest footage I have seen from the huge vimeo archive. And certainly the best 'test footage' of anamorphic out there.

https://vimeo.com/15689248

not a flare in sight. but no normal lens could create this look.

the culprit??? The Iscorama 54 mammoth. God I want one of these!

pictures:- http://www.facebook.com/media/set/?set=a.257026524416499.57661.100003274617854&type=1&l=a654a8042b

indeed. though with limitations there are often huge rewards. I found the majority of the personal stuff I shoot is during late night/musical gigs. it's 50/50 whether or not the light levels will warrant the benefits of anamorphic to outweigh the hurdles i often encounter. I have found my camera very rarely leaves the anamophic combo i put together. it has become my go-to lens and i have grown used to some of the hurdles. but then when i put a 50mm f1.8 on instead and I can put 30% more effort into the shot than the 30% I would be putting into the shot to overcome some of the problems posed by the morph. My combo is lovely and compact, and easy to use, but still a lot less compact than a nice 50mm planar. in the time it takes to remove the anamorphic lens I can switch 2-3 qbm mount zeiss lenses meaning I miss so much less.

I thought it might go for £600 based on the lack of info and poor pictures. If it had looked this way nearer the end of the auction I would have taken a punt. Seems these beasts are just going to keep rising in price.

I have started assembling a collection of old zeiss and due to non coated optics they give me the look I want. lots of flare - though not that classic horizontal flare:( more circular as normal, lovely and warm. with less limitations and demand of light. I tried the century with the zeiss lenses and they dont couple as well as the zuikos. i think the mc coatings of the zuiko helps with the transition, along side more modern design of lens working better with the quite modern (mid 90's-early 2000's) century adaptor. Also the rehousing of the setup makes it less easy to just take it apart and change over rapidly. it takes about 10 mins to dissemble the setup instead of the normal unscrew from front of lens of normal setups. I find that the 28mm zuiko has been the best combo for the century on aps-c/s35.

When going back to 16:9 I will sneak a bit of crop in there to get the 1.85:1 instead of typical 16:9, but i want to wait until we might see some 4:3 avchd hack at 24mbps+ so a 2x lens can be used at less wide stretch.

A nice rack focusable combo (1 focus ring) giving 2.35:1 ratio thanks to its 1.33x squeeze. (sample footage here:- [url="https://vimeo.com/47971206"]https://vimeo.com/47971206[/url] )Lens flare can be seen here:- [url="https://vimeo.com/47559951"]https://vimeo.com/47559951[/url] (half way through is the best example)the lens has been 'rehoused' with a bigger focus ring. and I have epoxy puttied a 72mm thread onto the front to accept 72mm diopters. this is rock solid and not flimsy. I have depended on it to keep my tokina +0.4 safe for many hassle free shoots. There are some images that Andrew shared on a previous blog entry:- [url="http://www.eoshd.com/wp-content/uploads/2012/07/nex-5n-anamorphic-adapter.jpg%20%20I"]http://www.eoshd.com...-adapter.jpg��I[/url] will remove the mini matte box before sale. i can send it with an emout adaptor, or an ef mount. on Aps-c and s35 there is no vignetting. Pm offers if you are interested. I'm now looking at going back to standard 16:9 after my short but sweet love affair with this aspect ratio.

I'm missing something here I guess ;-)

sorry man. wrong topic.

Those lens wipes and fluid are superb.:)

[quote name='Tim' timestamp='1345365652' post='16027']
[url="http://www.ebay.com.au/itm/OBJECTIF-ISCO-GOTTINGEN-ISCORAMA-ANAMORPHOT-1-5-X-36-/140823787305?pt=FR_IQ_PhotoVideo_Photo_Objectifs_Zooms&hash=item20c9c07729#ht_500wt_1169"]http://www.ebay.com....9#ht_500wt_1169[/url]
[/quote]

I seen this one before..... Hope the winner doesn't get a paperweight

[quote name='tony wilson' timestamp='1344967838' post='15722']

calotherm make the finest optical cloths and caloclear lens cleaner.
nothing better even zeiss use them as do panavision.
they do a lot of relabel work for some of the best companies around.
[/quote]

Thanks Tony.

Just made a purchase. I have had some terrible results from generic lens cleaning wipes. always leave a residue. I like to touch lenses as little as possible and having to remove the droplet residue using a dry cloth every time i clean the tokina atx has been a regular worry. It's such a strange coating on the tokina. like nothing else i have dealt with.

The only thing that matters is the final result. I found the test to look horrid even with the alexa and f65. It looked mid 90's American and tacky. like a cheap series from the 1990's. 6 feet under in 16:9 with 1/10th the budget and not one of the cinematogrphers able to impart any form of creativity due to the torture test situations making it impossible. since the test I care less than i did before about dynamic range and detail. so I am thankful to Zacuto for removing my previous unrealistic demand for anything better than a dslr. If I end up making something to be screens anywhere other than vimeo I'll hire the best camera available. until then the technical difference is +/-10% between the 20k f3 and the 100k top models.

very nice. you had a lovely sky to play with that night:)

[quote name='cybervand' timestamp='1345216199' post='15906']
There were/are quite large over-heating problems with the 5n. With a even larger sensor how will they fix it?
[/quote]

99% of shooting situations will not suffer from overheating during video mode. whether or not this overheats after 9mins, I dont care.

Also, with respect to covering that full frame sensor.. Easy! I'd just put some good quality MF lenses by Zeiss for the contax, rollei and m42 mount on there. Id consider the OM lenses, the MD lenses, The old Nikons and Canon FD's and in particular also start looking at the more rare schneider m42's and the hyper rare rodenstock glass for the m42 fitment.

I had a couple of the schneiders Curtagon, Xenon, Xenar in m42 - very cinematic looking lenses. I sold them straight away due to not matching zeiss in sharpeness. I wish i'd kept them though. the images were very beautiful

[quote name='EOSHD' timestamp='1345151189' post='15836']

Evil_thought2 - when are you going to leave this forum?
[/quote]

I laughed. Why go out shooting stuff when instead you can be like evil thought and set your alarm for the date and time the next shootout is uploaded, preparing a list of draft devils advocate attempts while you wait?

to me the F3 was the best in terms of price/performance. To me it looked almost as good as the alexa and f65. nothing elese came close imo

[quote name='apiece' timestamp='1345130557' post='15815']
I spoke up since yesterday because I think what's going on is not right. who is bullshiting... readers understand better. "hijacking" domain/other's efforts are not my own words, and I do not intend to continue the argument. By now, I am sure people understand better what's going on than I do...
[/quote]

The funds have come from the effort of eoshd and its members. Without a series of other cameras for Someone1.00 to work on there wont be a hack other than the a55. Someone1.00 kindly offered to perform his groundbreaking work on other cameras, for no financial gain. In return he is being provided with the platform to do so, administrated by EOSHD and donations coming from its user base.. The people have spoken. You are in the minority here. Your effort to sign up and be openly negative can only be for non constructive reasons. I imagine now Someone 1.00 has another camera to hack he will soon open it up and make public his procedure as he has done with the A55. At this point if the camera turns out to be a more popular model, then i look forward to seeing hacks from numerous talented guys in the online film maker and photography community. At this point I hope Someone1.00 might work alongside guys like Vitaliy and the other well respected people in the field. This EOSHD administration and publicity initiative is sure to push progress forward faster and more efficiently than if the project were within a more elitist forum full of more technical minded people who are less likely to find the hack worth donating for. If it had not been for the eoshd donation system Someone1.00 would still only be dealing with the A55 - a camera less popular amongst the online film maker community due to its inability to accept such a broad range of old lenses as the nex range can for example. Once an nex3 or nex5n are opened up, and hopefully improvements are made, this is an amazing move forward for those who are in the £600-1000 bracket for cameras instead of the £2500-3500 bracket.