dahlfors

Hello everyone,
 
I started testing my 16F on my red one mx.
 
The 4k anamorphic mode is quite handy, gives the correct aspect ratio with the 2x squeeze of the 16f.
And it directly feeds desqueezed footage out of the camera no need for a monitor that has this function.
 
Tested on the 50mm and 85mm.
Need to see if it is possible to go lower.
It should be because there is a 3k and 2k anamode that crops into the sensor so I feel like even if 28mm shows vignetting at 4k, it might not at 3 or 2.
 
Here is the first vid shot with the 4k ana mode:
 

 
 
https://vimeo.com/66549568
 
 
This one was shot with the 4k widescreen mode, giving a wider aspect ratio.
And a close to 9k image when desqueezing horizontally...
 

 
https://vimeo.com/66459473
 
 

This is shot using the D800, DSO Trump FF58 with Oval aperture, the new flare sex filter and towards the end the Iscorama 1.5X anamorphic lens mounted inside the Trump for a 2X oval bokeh.
 
https://vimeo.com/76912854
 
Some images of the trump I'll grab one with the iscorama in there too.
 

 

 
 

Andrew of EOSHD has done quite a few tests with D5200. Check the blog: http://www.eoshd.com/content/tag/nikon-d5200

I was out testing my two Dog Schidt Optiks lenses in Stockholm, and found two guys playing on a street and decided to shoot them:
 
https://vimeo.com/75661923
 
I have two FF58's: one low contrast +  more flares and amber tone, and one with a bit more contrast but with less flaring and neutral tone. This is shot with the one that flares less.
 
Footage is a bit shaky, all I had for stabilizing the camera was a minitripod, Velbon Ultra Maxi Mini:
http://t2.gstatic.com/images?q=tbn:ANd9GcQ4mZLVSi-Cl4d8xdloHiWpLyIjGvb5EBnbDU5Eg0LuG1WLfmX-JA
 
Having the weight of the tripod and a bit more to hold on to helps a bit, but not much.

The early unfinished prototype seems good already, and I certainly think Rich is onto something with oval bokeh + vintage lens for this one.
 
I see a lot of creative choices with this anamorphic:
- Want a sharp, more digital look with a lot of contrast? Go for some modern lenses.
- Want a look with less contrast? Go with vintage lenses.
- Is 1.33 bokeh not enough for the look? Go for a solution like the DSO Trump with its oval aperture.
- Also, no need to waste any pixels to achieve 2.35:1 (which ought to be great for dslr/mirrorless which do not always have the best resolution).
 
An anamorphic with options like these for a price of $799 seems like a great deal to me. Especially in addition with the two achromats that you can order without some major hunting on the Internet.
 
I really love my Iscorama - but the paranoia when traveling with it is no fun. I'd rather travel with an item that I know I can order a replacement for if stolen or damaged. At $799 for the SLR Magic Anamorphic it's not super cheap to pay up for if you waste it - but it sure beats crying a river if you'd ever trash an Iscorama!
 
Andrew, how do you align this anamorphic? Does it have some similar rotating mechanism to Iscorama?

I was out testing my two Dog Schidt Optiks lenses in Stockholm, and found two guys playing on a street and decided to shoot them:
 
https://vimeo.com/75661923
 
I have two FF58's: one low contrast +  more flares and amber tone, and one with a bit more contrast but with less flaring and neutral tone. This is shot with the one that flares less.
 
Footage is a bit shaky, all I had for stabilizing the camera was a minitripod, Velbon Ultra Maxi Mini:
http://t2.gstatic.com/images?q=tbn:ANd9GcQ4mZLVSi-Cl4d8xdloHiWpLyIjGvb5EBnbDU5Eg0LuG1WLfmX-JA
 
Having the weight of the tripod and a bit more to hold on to helps a bit, but not much.

I was out testing my two Dog Schidt Optiks lenses in Stockholm, and found two guys playing on a street and decided to shoot them:
 
https://vimeo.com/75661923
 
I have two FF58's: one low contrast +  more flares and amber tone, and one with a bit more contrast but with less flaring and neutral tone. This is shot with the one that flares less.
 
Footage is a bit shaky, all I had for stabilizing the camera was a minitripod, Velbon Ultra Maxi Mini:
http://t2.gstatic.com/images?q=tbn:ANd9GcQ4mZLVSi-Cl4d8xdloHiWpLyIjGvb5EBnbDU5Eg0LuG1WLfmX-JA
 
Having the weight of the tripod and a bit more to hold on to helps a bit, but not much.

http://www.eoshd.com/content/9653/nikon-d5200-review
 
^ Look at the pros & cons in Andrew's review for D5200.
 
- Basically, you don't want to shoot with flat profiles with D5200, but rather use standard profile or a profile close to standard and get it as close to what you want already in camera with D5200.
 
http://www.eoshd.com/content/10824/panasonic-g6-review-the-gh2-redux
 
- what my own eyes tell me in the test footage is that G6 will have a little less chance of moire occuring than on a D5200 (or a GH3 for that matter, like Andrew's tests show).
 
Short summary:
 
G6: 
- if you want more possibilities for videos in post - get G6.
- sensor very good for stills
- 1080p at 50/60 fps can be used for full hd slow motion. Only G6 and NEX cameras have that feature around the same price level.
 
D5200:
- if you don't want to push shadows and do as much in post, D5200 will be great
- one of the absolutely best sensors for stills found in entry-level cameras.
- in stills mode, you'll need to shoot around ISO100 to ISO400 to get an advantage with dynamic range. The higher up the iso goes, the more similar the dynamic range will be to that of other cameras. This is true for stills at least, and I'd assume it goes for video mode as well, since it's how the sensor behaves.
- as long as you keep to standard profile, it won't have as much noise and will be quite comparable to a GH3 according to Andrew's comparison.
 
For stills: I've shot with DSLRs for a while, and you can get good results with less Dynamic Range and less good color reproduction. Higher DR and better color reproduction just makes it easier to get a great shot or rescue one where you missed a bit with the exposure. In other words - you'll get great results from stills with either camera if you learn how to handle them.
 
My recommendation is to get a feel of the cameras in a shop, usually helps a lot to try to get a bit comfortable with a camera before buying. Also ponder about their weaknesses and strengths and figure out what's most useful for your way of using it. If you want to grade and tweak your video footage more in post, G6 will be the better alternative.

ever wondered what leica or cooke taylor hobson could do if they made something like the tokina achromatic diopter.
 
well in about 3 weeks i should have the finest close up ever.
82mm doublet +0.25 classic single coated optics using ohara and schott germany glass.
way superior than the tokina +0.4 optimised for 5d size sensor using iscorama,cooke speed panchro and leica r as the set up.
this close up will be a fine match for the finest most expensive high end new or old optics.
 
 
anyone who thinks these new generation anamorphics from letus and slr magic will not need a double element close optics is clearly not very sharp : )
a simple test on those 2 new china lens shot at f1.8 or even f2.8  with an achromatic doublet and without should make things clear.
these new anamorphics are single element  optics just like the century and the panasonic optics.
maybe revised and improved  but still single element..
sometin got a give somewhere in the system.
 
as we all understand stopping optics down to f4-5.6 clears up the image and makes even poor optics look sweet.
achromatic correction is kind of cool and if you like the new anamorphic lens concepts coming sticking a decent bit of double element glass in front of bad single element can only help A
3 cheers for Chester Moore Hall the man that came up with the concept of bending light ray achromatic correction.

That's nothing, Star Wars was shot on VHS-C
 
http://www.youtube.com/watch?v=eN8QCL8B8sU

One of the regulars at the forum shot a nice comparison a while ago:
 
http://www.eoshd.com/comments/topic/2170-iscorama-vs-iscomorphot-8-2x-vs-iscomorphot-8-15x/

LOL Rudolf. I love that vintage Iscorama advertisement you attached with your post! Very cheesy :) Never seen that one before.

At the beginning of the IFA show in Berlin, Andrew from SLR Magic dropped by at my studio and dropped off the V2 and V3 anamorphic prototype lenses the company are working on. As long time EOSHD readers will know I am a passionate advocate and shooter of anamorphic.

The SLR Magic anamorphic is the first new lens of it's kind to be announced in many years.

[url=http://www.eoshd.com/content/11138/introducing-the-slr-magic-anamorphic-lens-hands-on-with-new-v3-prototype]Read the full article here[/url]

I loved it, I cant wait for mine to come in so I can add a 1.5X oval aperture with the 1.5 isco and make my iscorama a 2X. Going to be very sweet indeed. 

Use the Helios 58mm and most of the older nikkor AiS primes with a 52mm front thread. they only telescope ever so slightly back and forth throughout the focus throw, but you wont be using that part to focus anyways.  Pancakes also work really well, and small size ;)

~€5
http://www.ebay.co.uk/itm/Aluminum-Tripod-Mount-Ring-Support-Collar-for-Canon-EF-100mm-F2-8-USM-Macro-Lens-/
 

~€55
http://www.ebay.nl/itm/200903091120?ssPageName=STRK:MEWNX:IT&_trksid=p3984.m1439.l2649
 

~€35
http://www.ebay.nl/itm/151035085743?ssPageName=STRK:MEWNX:IT&_trksid=p3984.m1439.l2649
 
This is all you need and it includes rails etc.
Recently bought these parts and it works nice. Can't get it any cheaper than this probably and the quality isn't bad at all.
 

 
Will post a better picture of this setup soon. Was planning to to open a topic about it...

GH3-- Here's a look at what it can do with the proper lighting...
https://vimeo.com/72737956

it was one of my ex nasa lens i had 5 or 6 isco 54s 4 of them where from white sands missile test range in new mexico.
the lens i sold ages ago was very sharp mint condition lens all gone now but here is a foto
 
http://www.flickr.com/photos/34211301@N00/5096919478/

Since I've seen there's a few people in here still looking for Iscoramas - I spotted an Iscorama 54 for sale at a price around 20.000 swedish crowns (SEK), which is roughly 2300 euro, in southern Sweden.
 
It is an ad on Sweden's largest photo forum, fotosidan.se: http://www.fotosidan.se/classifieds/view.htm?ID=202418
 
Basically he says that he is selling Iscorama 54 in mint condition with redstan lens clamp, and that it was bought from redstan. Maybe our guy Tony Wilson knows more about this?
 
He also lists a website on his fotosidan profile, which looks like his portfolio: http://www.frankvfx.com/
 
Unfortunately it's not in my part of Sweden. But if you live in Europe and are really interested in getting an Iscorama, I'd suggest that you get in contact with this person and travel to Sweden to see the lens in person (to avoid scams). Trip included to Sweden - it's probably far better price than these insane prices people demand on ebay these days!
 
(I've myself bought quite a lot of second hand photo gear through this fotosidan.se forum, and I've been happy with that site. My scam radar doesn't give me any warnings on this ad or person, but I'd still suggest that you go to meet up if you want to buy something this expensive...)
 
(...and just to make it clear: I have no connections to this ad/person whatsoever. I just check the used lenses and items people sell on the fotosidan.se site, and I stumbled upon the Iscorama)

Very nice work Julien, the balance between tone and compression is just beautiful.
 
The Ultra Star has a deep seated pedigree in the world of Scopes. It is actually based on the STOP Berthiot Hypergonar and has three elements in the front and two at the rear and is achromatic. The very front element is very thin like filter thickness.
 
The non constant compression is a feature of the Hypergonar design and one that I particularly like, especially for narrative.
If it is not your cup of tea, then it is simple to correct using the Photoshop filter Spherize. Just shoot some graph paper and choose horizontal mode and swish the slider until all is corrected. After Effects has something similar.

I've always known the GH3 packed a great punch in its IQ since I saw how much the latitude in the shadows improved over the GH2. It was my first sign that this little beast mixed with the right glass could produce amazing images and finally, having the time to create something for the art of filmmaking, decided to dive into the world of anamorphic and create something that I hope you all enjoy!   https://vimeo.com/71554911   All the technical details are in an article linked on the Vimeo page.   Used the Isco Ultra Star 2x anamorphic lens 

Will you accept 8,000$ ?  

Solid reasoning, after all I can't think of any other camera that does uncompressed 1080p raw to 95Mb/s cards with no fan.
 
http://vimeo.com/66033769

My latest (and last) 1 v1 RAW video.
 

My personal workflow in premiere:
 
1) Set up a custom premiere project at the aspect ratio I want. 2880x1080 for 1.5x anamorphic, or if I want 2.40:1 / 2.35:1, I use 2592x1080 / 2538x1080.
 
2) Then I drop in the footage to the timeline, select it and go to Transform and do the proper width scaling (uncheck the box with uniform scaling) for the anamorphic. 150% for Iscorama, something around 1.7x (170%) to 2x (200%) for the Isco projection lens.
 
3) Now you will have the center crop of your footage, with the left and right edges going outside.
 
You could do the same while working at lower resolutions, but I prefer to work at 1080p height if I want to output some high-res version later on. If I want to output it for vimeo or youtube, I usually let adobe media encoder do the job of downsampling it.