dahlfors

Aperture situation explained in video above.

I haven't actually shot much footage with it. I had it as a stills lens only.
Some examples (click on the images for a larger view):
 

 

 

 
 

 
 
 

Such a topic would be great, although I'd suggest starting a separate thread for it. I've been shooting with D800 for quite a while, and there really isn't many online discussing issues/solutions etc.

Keep on posting more of these as they become available, I'd love to see more :)
 
I loved the composition of that shot where she walks down the stairs while he hides behind the pillar - great composition with the wide aspect ratio.
 
Also very cool environment, those are some crazy abandoned buildings! Are those to be found in Sao Paulo?

Have you tried viewing on some other monitors? Some monitors exagerrate certain colors while they downplay others.

It's only in some certain shots where his color is off on my Macbook Pro and on my HP LP2475w monitor. On the other shots the skin tone looks correct (with his skin tone being a SLIGHT bit more yellow than the woman's). Looks like it is either 1) colour bouncing off something, or 2) wrong white balance on some shots.

Canon seems to be praised for the skin colors all around the net. What I see up here in Sweden on the nordic skin tones, is that Canon stills & movies are oversaturated out of the box, and skin tones aren't people's true skin tones. It rather looks like they've gotten a fake tan painted on their faces and saturation upped a few steps. Some people enjoy that I guess. Personally I like to shoot natural/neutral colors, and that's where Nikon's profiles are closer, if white balance is set correctly.

I don't have much experience with other kinds of skin tones though, people up here tend to be pale and tend to show up with their natural look, be it in h.264 clips or raw stills.

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
 

I love the way people shift responsibility for their actions onto someone else.
Resolve 10 lite works perfectly on my relatively cheap 2012 iMac. Maybe you need to adjust your set up?
Focus peaking works perfectly on my pocket camera.
Yes, the screen is hard to see in daylight. There is a $165 Kinotehnik loupe available.
You didn't need to spend anything more than a m4/3rds lens and an sd card to use the pocket camera. Everything else you bought was your own decision and can't be blamed on BMD.
And honestly, I can't believe your complaining that you had to download the latest firmware!!!! How hard is that? You have to download the latest version of everything you buy these days. That's the Internet age for you.
As above, I'm really loving my pocket camera. The image quality is superb, but yes, it is a bit quirky.

The version taken to LA could have been the final version of the SLR Magic - Anamorphot. We had been trying hard to change the flares to blue and we managed to succeed just before we start shipping out the units to our volunteer testers. The coating is now final and flares will be blue. Legacy anamorphic adapters usually flare white, yellow, or green. Cinema anamorphics usually flare blue streaks so we tried very hard to make the lens flare the same way cinema anamorphics do.

plus £10 shipping outside UK
 
see this Kickstarter project!
 
project in the hands of Raspberry Pi fans, but don't see why this product can't be used for pulling focus in the studio?
 
It can be battery powered, hence also portable.  Anyone for a 9" portable monitoring screen :-)

However silly it might seem to you, H.265 does 4444, at 8-bit, 10-bit or 12-bit:
 
http://en.wikipedia.org/wiki/High_Efficiency_Video_Coding#Profiles
 
Prores is a lossy compression method, so is H.265. The difference is that H.265 is a recent codec with a lot more focus on compressing filesizes, for the cost of requiring more computing power to encode/decode. This means, for the very same level of quality as with Prores, you'll have far lower bitrate, 4444 included.
 
Also: "and much better quality than H.264". Yes, a Prores 4444 will be higher quality than the H.264 4:2:0 at 8-bit we see implemented in most cameras. However, did you know that there are also H.264 profiles for 4:4:4 at 10-bit color (the specs even support up to 14-bit)? With proper encoding chips, there's nothing stopping cameras from having 10-bit H.265 4444 (or even H.264) that compress far better and has same quality as Prores 4444.

This started out as a favour for a friend & while on the day it was a complete nightmare, the results weren't as bad as i thought. This was almost entirely shot handheld (1 tripod wide shot), due to there not being enough room to swing a cat or should that be mouse!!? Anyways, stage was like a tiny bouncy castle & space was really tight - so no rig either!
 
For the majority of shots I used the Helios 44-2+Iscorama 54+Voigtlander Focar A&B (+1/+2 diopters).
There are a few shots were i used the Helios 40-2 & the shit wide shot was with the Mir-1b.
 
This will be one of the last things I'll shoot on the 60D with H264, as i now have the Pocket in my hands...
 
 

Just tried one, first impressions...
 
Screen is very nice. Biggest on any camera and very good quality.
 
There's a new manual focus assist - ultra detailed but slow frame rate.
 
I'm picking up some SD cards and going back to get some footage. Nothing special just in-store test. If it really is a step forward from the D5300 aside from 60p I'll buy one and review it :)

When you stepped out of the wrong side of bed this morning, did you also stand on a lego brick?
 
It doesn't so much matter if H.265 isn't destined for DSLRs immediately, I am sure Atomos will put it in an external recorder way before then and allow us to get very nice looking 4K from an HDMI and HD-SDI output on future cameras.

CineMartin are the first company I know of to give us H.265 HEVC (High Efficiency Video Encoding) conversion with the just-announced CINEC v2.7. It supports up to 4K resolution and you can try it today.

In case you live at 12 Under Rock Drive, the H.265 standard is the biggest codec of the decade. It supersedes today's most common codec for encoding and internet delivery of video (H.264) and makes 4K recording to SD cards possible on DSLRs.

Read the full article here

Most shops around here in Sweden don't sell Sachtler, so I have no idea about how those perform. However, when I got my Manfrotto 503HDV head, I tried panning and tilting both 501 and 503 heads in the shop. The 503 felt much smoother and concise compared to the 501, which made my choice easy.
 
So, my advice is to try to find a shop where you can actually try them out. Then you can probably figure out if the difference is large enough for you to want to save a bit of money from your budget or not.

So, you registered to drop your copy referral link twice...

Ultra stars are anamorphic projection lenses needing double focusing. These lenses are made for projection, so they don't focus very close, usually in the range of around 1.5 to 2 meters or so.
 
First you mount them to a taking lens (with rear part of anamorphic as close as possible to taking lens as possible) using a clamp or a rail mount. When mounting, you need to rotate and align the anamorphic so that vertical and horisontal lines are really vertical and horisontal. People often shine a light into the lens to see a flare for that alignment. It can work to align it with camera pointed at truly vertical wall too (like a wall, door or something else you know will be aligned).
 
When focusing an object at around 5 meter or so - first adjust your taking lens to 5 meters and then the anamorphic to 5 meters. If you nail the focal distance on both lenses your image should be in focus. If the focus is wrong on one of the lenses, you won't have anything in focus.
 
Search in the forums a bit as well and you'll find more threads about:
- aligning different anamorphics
- using double focusing
- Isco Ultra Stars.

Hi Tito,
I have the idea to sell before, but i can't....
The image is just beautiful...
 
Samples...
https://vimeo.com/76351311
Password: North

The most important spec there is the 10bit/4:2:2
 
I'd rather have raw 1080p (5DIII) than 4K.... But if it really has 10bit/4:2:2 it becomes an interesting option.

not sure if anyone mentioned it before, but smallhd has a shared googledoc for their customers abt anamorphic settings for their custom scale.

this is what i got from dave from smallhd a few months ago.

"Update for Case #SC29836 - "anamorphic custom scales"

Its still a work in process but here is the spreadsheet we have made so far

https://docs.google.com/a/smallhd.com/spreadsheet/ccc?key=0AtXcMLsQ0MqZdFRFX1lOcm45djJwV0MwVFRNTXo2bkE#gid=0

Take a look and see if it makes sense


Thanks
Dave"

This is a quick test I did at the locations where we're shooting a feature in 2 weeks. The Iscorama was a little off center, but it's ok for a first test. Natural lighting only. Quick grade. 
https://vimeo.com/78537686
 

wanted to share a short narrative scene i made with iscorama 36, tokina diopter, blackmagic pocket camera, and voigtlander 25mm f0.95. 
 
https://vimeo.com/78510126
 
it's the rebadged 36, not the 1968, so i noticed the flares off the taxi's brake light was pretty subdued.  the voigtlander probably subdued it more.  and it was a weak brake light anyway.  and on top of that probably doesn't work to have flares in this particular scene anyway.
 
for some reason the bokeh i was getting on the CU's with the diopter honestly looked a little spherical to me.  any thoughts on that?
 
any other critique that could probably help me shoot better anamorphic?
thanks
erik
 

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

 

 

 

 
Yay nice 2X oval bokeh :)

Sorry guys - i had to!
I promise i won´t put any videos of flowers nor cats into this forum with this lovely glass! (ok maybe cats)

I am sure that my Leica-R taking lenses will fit perfectly with the Iscorama since these lenses were produced at approximately the same time.





 

I had a chance to play with a near final version of the new SLR Magic 1.33x Anamorphic Adapter today with Andrew Chan.     This adapter is a completely new design from other anamorphic adapters I've used. It has unique focusing abilities which give it the strengths of single focus designs like the Panasonic LA7200 with the added capabilities of what you'd find in dual focus anamorphic adapters like those from Bolex or Kowa.    In its normal focus mode, with the SLR Magic 35mm T1.4 CINE II lens, you get a picture that can focus from 2.8m to infinity.   The lens also has a NEAR mode that works as a variable built in diopter. This works by rotating the ring on the anamorphic adapter towards the "near" marker on the adapter barrel when an object is closer than 2m and it moves the rear element of the adapter changing the focus capabilities of the lens. It's easy just to think of it as a macro mode, and something I'll cover more in depth on video when we get a copy of our own.         
        You might be wondering, how does this differ from an LA7200? It is a completely different type of adapter.    First, this lens is best pared with the SLR Magic 35mm T1.4 CINE II, which has been beefed up to not have lens slop while the anamorphic adapter is attached to the taking lens. Use the LA7200 enough and it will make even the most robust metal slr lens start to slop from all the weight hanging off the end of the filter threads.   Second, the LA7200 does not work at 35mm, not even close. You can fudge it with diopters, but the edges of the image will be an unfocused mess.    Lastly, this is a brand new lens with a warranty, not something you have to get lucky on an eBay auction. Every lens will work and look the same. If you have a problem, it will be simple enough to get actual support.  
    Image Quality. I look forward to having more time to shoot with the SLR Magic anamorphic adapter in the upcoming months, but in the few hours I tested it I can give you some of my opinions. First of those being that this adapter is in no way a copy of any anamorphic adapter that has come before it. Testing the lens at infinity gives this away quickly as none of the other adapters can do 35mm without some degree of edge blurring.    When the lens enters it's "NEAR" mode that works as a variable diopter, you can get some fantastically sharp images as well as exaggerated bokeh. The lens appeared to be out resolving my BMCC, which is something my LA7200 could never do, so I'd like to see what it does at even higher resolutions.    The closest new and available 1.33x option that you could compare would be a Hawk V-lite 35mm at somewhere over $40,000. For a fraction of the price I think SLR Magic adapter+SLR Magic 35mm T1.4 CINE II lens will be a steal.   
    Let me just say that I love the way this lens flares now. I know it might change before the final version ships, but the coloring reminds me of the coating on our Isco 36 and Bolex Anamorphot 8/19. Blue is nice too, but those can be faked with VANTAGE Blue-Vision® Flare Filters.     Finally, I'd like to think this will be a great product that should serve as a new starting point for getting into anamorphic lenses. It should greatly decrease all the unhappiness that comes with spending hours searching and bidding on lenses on ebay just to find out an anamorphic lens is broken or out of alignment. When this releases you can focus your time on learning how to shoot with anamorphic lenses, rather than focusing on the mechanics of just trying to get the lens to work with a bunch of adapters and wasting hours on forums and searching vimeo and youtube for answers.