Bioskop.Inc

2 hours ago, Timotheus said:

Hi all, interested in hearing about mounting solutions for Iscorama 54 and/or Isco 16:9 Video Attachment. How do you keep it safe and (super)stable on 15mm rods? What type of support or lens collars do you use?

I have one specific wish, as I would like to have the Isco secured to the rails without having to physically attach it to the taking lens. In this way I can remove the camera by it's cage handle for some lighter-weight shooting without the rail system.

I already read through this older topic, but am looking for a more sturdy setup.

Keen to hear your solutions, thanks!

Redstan has an adaptor which you attach to the back of the Iscorama54 & you can then mount it on rails. However, someone who bought one told me that it doesn't attach to the taking lens properly - so might not be a problem for you.

http://www.redstan.com/index.php?route=product/product&path=33&product_id=63

Personally, I use a Zacuto lens mount that has a system to clamp it securely down, but I would never leave it like that without attaching it to a taking lens.

The 54 weighs 1kg & you'll need something robust to keep it secure on rails - I just think that it's too heavy (& expensive) to have it free standing on its own. Safety first?

I was waiting for the new iMac/s to be released & now i'm not so sure - might be cheaper to get a refurbished one?

Thanks for those speed test results, really interesting.

The whole FCPX hating was complete rubbish, as FCP7 was worlds ahead of PP & the only reason people stuck with it was because of AE - the rest was a shambles.

Hats off to Adobe for running a great negative campaign against FCPX, but those of us who went with it & stayed got the updates, which were always coming, and that have made it one of the most logical,fast & bug free editing programs out there. The redesign of Motion was also a welcome surprise.

Just hope they don't go the subscription route, but if they do i'd still pay them over Adobe - who really need to rebuild PP & fast, if they want to stay relevant!?

17 hours ago, JazzBox said:

I had the Pocket and now the Micro. It's fantastic, I don't really need the 4K, but it is a "cinema" camera. You need time to set up it, time to swap batteries etc... and for rush - or low budget / no budget - gigs is not the best candidate. 
I find the GH4 (and now the G7) far more easy to manage, they share the same lens park and I use 90% of the time the Panasonic instead of the Micro. Of course I love the internal Micro's ProRes, it is just awesome and quite easy to grade in post while with Panasonic you have to nail 85% of the look in camera, because the V-Log, even recorded in the BM Video Assist is not something I use on the GH4.

In my small experience LOG needs 10 bits and GH4 (or G7) are not that better recorded in ProRes, the codec is great in "Natural" setting, recorded internally and I use them in that way. 
 

I'm fine with the Pocket & don't understand why people find it hard to use - set the WB & set the ASA/ISO & then all you need is to tweek the F Stop and/or the ND. The battery life is a not a point of contention, as when you swap the SD card, you swap the battery - 45mins is fine & you get used to switching the unit off/on when not in use. I've used it for Run'n'Gun for shooting concerts & in more controlled settings - practice & getting to know your camera, that's the key. And it's nothing like a DSLR & that's what stumps most people - learning a new technique/camera is fun IMHO.

IMHO anything promoting the BMPCC [or BMMCC] over 4K 8-bit cameras is a good thing.

I know no camera is perfect (especially in the prosumer market), but in my experience the Pocket was the image & codec i'd been longing for ever since I had to take a hit & demote myself to using H264. It's not 4K, but when I saw the image quality and started working with ProRes (let alone RAW) I knew I'd finally come home - no more wasting time on dreaming about which camera to own next. Some people might say it's only 1080p, but with an anmorphic lens it ends up being way over the standard Cinema DCP 2K (2.39) & you end up squeezing the image down rather than up. I still have my 60d for taking pictures & that's why I bought a hybrid in the first place - the video mode was always going to get replaced with something better sooner or later and now I have the best of both worlds.

As far as marketing/advertising etc., of course one must always beware with these capitalists! But when they bring people's attention to something good, i'm more forgiving - at least for the time being.

1 hour ago, sanveer said:

Thank you. I will definitely try and have a look at the books. I was only a little skeptical as to how a codec like H.264 may hold up in post.

I used that technique quite a few years ago using FCP7 & the thing is you're keeping the colour of the Dress (for example) & then desaturating the rest of the footage, so you should be fine. If you look at the example you gave of the little girl, it doesn't look perfect - i suppose there is a different technique used with film stock.

The thing with H264 footage is, you can do one or two things, but as soon as you start doing major CC etc. it will fall apart. So nail the footage that you take (exposure, colour etc.) as close as you can, so you don't have to bother altering too much in post.

Those books are amazing, they cover everything you need to know about CC & grading - no trick or technique is left out. Really worth the money & you'll never need to buy another over priced plug-in again. The only thing i've bought since is Film Convert - I only use that as a final adjustment layer for the roll off effect on highlights/blacks, applying only their standard setting. If i'm really in a hurry, I'll use the Alexa preset with BM footage, since I hate their BM preset - horrible, really horrible.

I always use the rule of thumb of nailing everything as close as you can get in-camera, as it saves so much time in post.

The saying that you can always fix it in post, is just another way of saying you can't shoot properly.

For the best results, it should be done in post. You grey out the clothes or whatever & then reverse the image, so you end up keeping the colour of the object & everything else is B&W - colour keying, i think that's what it is called. Effects done by a camera are always a bad compromise - it won't look great.

If you're not good at CC'ing or want to learn, the best book/s out there is by "Alexis Van Hurkman - Color Correction Handbook" and the companion book is "Look Book Creative Grading Techniques". If you get both you are absolutely set to go - the books are easy to understand & you'll realise it's a lot easier and quicker to do things than you think (you do things once & then save the template in your NLE).

20 hours ago, PepperJay said:

 

Hey, Bioskop.Inc, yeah, I tried to focus out of my window from here to across the street, but nothing but a glob of murky smear, regardless of iris or focal distance on my prime. And correct on that light source--I'd never seen a penlight take up the entire frame--like it was set for microscopic levels. I finally gave up yesterday and shipped it back to the seller in Prague (before I accidentally scratch it). Sad, as it was the only Isco I had owned, and now the baby Möllers and Hypers are way too expensive for me. But I have more than enough lenses to experiment with for the time being, and I thank you again for your input and encouragement. I feel like a bit of a quitter, but the window for this $400 lens was closing faster than I was making any progress.

 

Shame, I can recommend the Isco Widescreen 2000 as one of the best of the Focus Through/Fixed Focus lenses out there - Run'n'Gun or whatever you want:

40 minutes ago, tweak said:

I think you missed my point... all I'm saying is he should be able to get some kind of image stopped down a bit, obviously I don't use my scope like that .

I got your point. Looks like he is struggling & was giving out more info in the process - like a good forum member should (not a 60yr old wannabe relic timewaster!)

I'm sure from his pics it's a distance thing, if not......a metallic thanksgiving meal!?

4 hours ago, tweak said:

I have s82x and it will focus almost any distance if you stop down a bit.

Yes, I agree - the only problem with stopping down is that most things will look in focus, but are they?

You really need to find out what your anamorphic looks like actually in focus at its optimum. This is because when you focus through you are better able to judge how much off the mark it is - you don't want to end up with some footage being really sharp & other bits which aren't.

It's the same with dual focus anamorphics - sometimes, when you're aligning the anamorphic & taking lens, things can appear to be in focus, but when they really are the image pops up nice & sharp.

Also, racking focus focus when you're stopped down can be done, but it's not as noticeable compared to when your lens is open wider (obvious, I know). The best tip for achieving a good rack focus, with these focus through lenses, is to have a taking lens with a long focus throw - it takes longer to rack, but it shows up more.

@PepperJay - how is it going? Any luck yet or is it a turkey?

11 hours ago, PepperJay said:

Hey, Bioskop.Inc, so no joy over here. I set up my Helios 44, got nice focus, then mounted the Isco (pic#1). That blob in the 2nd was all I could get with my keychain flashlight at the same focal point, with no flares to work with, but vertial oval (both ways) in the front. The 3rd and 4th show the rig--just trying to get a clean image from 5ft. The last pic had the light off, making no change at all to the Helios from original settings. I've put +.25, +.50, +.75, +1, +2, +4 and +10 close up lenses and diopters in front yet to no avail. The other day, I tried with my 5DMKII, Canon 50mm and my Tamron 28-75mm. Same outcome @ approximately the same distance (the TV).

As in the first post with the pic pointed at my TV, the only way I can get a distinguishable picture is when I hold it 2 feet away from my eye, and only then with a mirrored image. Anything closer or with any lens just causes me to question my manhood. :D  :|

That said, I really appreciate your help thus far. I sent an email to the ebay dealer yesterday requesting a return, but (perhaps not surprisingly) haven't heard back. Not too worried because at this point I think I'd rather face opening a case than dealing with this little beast.

That is strange. But looking at the second picture, i would say that you are too close to the TV - so perhaps the minimum is 5m not 5 feet. The light source shouldn't be covering the whole frame. The last pic looks like you're aimed at the wall.

The Iscomorphot S8/x2 has a minimum of distance of 4/5m & the Widescreen 2000 is 5m - so it might be worth trying to focus at something further away. 5m is quite a distance & I had real trouble with this distance in my front room, so it took me a while to get things to focus.

On a 5d2, you'll need something over 75mm. On APS-C or below a 50mm should be fine.

If not try to contact QuickHitRecord - he's a really nice guy & might be able to point you in the right direction.

Experiment - remember to adjust the taking lens, as sometimes the distances on these things aren't that accurate.

2 hours ago, PepperJay said:

Thank you, Bioskop.Inc. My mind is blown by your reply. Some sources I had researched from stated it was "focus through," which left me completely confused as to where the problem might lie. "Fixed focus" at 5ft is a great place to start from.

I'm digging out my primes and diopters right now and will give it another go. Again, many thanks, and more to follow...

Yeah the focus through thing is one of those myths/lies that circulates - with these 8mm attachments, it's just wishful thinking. The Iscomorphot S8/x2, which is also fixed focus & it doesn't really play well with racking.

But having said that, I've also got the Isco Widescreen 2000 & in order to rack with that you need a diopter +0.5/0.25 (a weak one) and then stop down the taking lens a little - worth a try if you've got the right diopter.

Good luck

Yeah Manfrotto does make them - i've got a small one for my BMPCC run'n'gun rig. They do make a larger one as well - bit of searching on their website is in order!

So, I am assuming that you read this post:

You will need to align the anamorphic - the best way to do this is to shine a bright light at it (use your phone's light & don't get too close) & you should see the flares/streaks. These flares need to be horizontal, if they aren't it will be very difficult to get the lens to focus. So you just turn the anamorphic until they are horizontal.

Try to get a clean focus at 5 feet - i.e. without any diopters (measure it with a tape measure to get yourself in the right ball park & set your taking lens to 5feet, then do minor adjustments until the object you are focusing on pops into focus).

Lastly, this is not a focus through - it's fixed focus at 5feet. You use the diopters to be able to focus closer & you just adjust the distance on your taking lens to reach the right focus distance - a lot of trial & error.

Hope this helps.

Actually couldn't find much info concerning the claim for it being shot on A7/A7s - wishful thinking?

Going by the 2 films I've seen by Adam Wingard, both excellent, this one will probably be really good - he knows what he's doing as far as suspense/tension building goes & don't get me started on twists. Both of these worth a watch, especially "You're Next".

You're Next - Red One MX

The Guest - ARRI Alexa

Judging by the trailer, you're not going to have enough time to notice jello...

I had this problem with an extractor fan with one of the first things I filmed.

Does it drown out the dialogue or ruin it?

If it doesn't, then you can just fade out or lower the volume at the beginning/end of the dialogue, then add in some other ambient sounds to cover or add to the fridge noise.

If it does then you could always re-record the dialogue - it's a very common thing to do. You just play back the dialogue, through headphones, to the talent & get them to re-do it in sync with the original. Or you can show them the footage, with no sound, and get them to re-do it that way.

Trying to remove background noise can sometimes be worse than leaving it in.

I'll second VisionTech - it's easily the best of the bunch by a long way.

But remember that you shouldn't grade too much with 8-bit H264 files, as they'll fall apart. You need to get it as close as you can in-camera, then adjust for contrast & saturation and/or very minor cc.

Cinestyle is absolute rubbish & looks rubbish, it requires you to grade the footage too much & you'll run into problems with 8-bit footage.

1 hour ago, andy lee said:

Just read all todays madness

Time out Please!

ES needs to refund the 3 people involved in this matter , it's between him and them .

Andrew is away filming and I don't think he will want an internet intervention lynching branded by EOSHD members when he has said if this is not resolved he will get the authorities involved.

 

ES contact the three people involved , keep in regular contact with them and get on with the plan for refunding them in full with a realistic time frame they are happy with and stick to it.

or you will be dealing with Andrew Reid direct.

 

 

 

From one of the sites Moderators & still you guys ignore him!!!

31 minutes ago, ken said:

ISCO integrated lens is not big, basically same as 16H, and even sharper and less distortion.   There is some kind of trade off.  You get sharper lens, but loose flare.   You get flare, and come with blur too.  

I found the good flare lens actually is made of single glass, not doublet.  Like some vintage lens, or 1.33x lens.  So it is not so sharp in edge, or has strong CA.  Nowadays to produce flare is easy.  There are many way to approach.  I used a CPL lens or poor UV lens can make it.

I hate the fact that you keep peddling these shit lenses to people, they are a complete & utter waste of time & money.

To hell with sharp, as Anamorphic lenses are all about the defects they produce & a little about the flares.

My advice to the OP is to do some searches in this section of the forum, as we have gone over & over which lenses are good.

There is so much info here, it's stupid. Spend a while looking at different posts - you might have to go back a while to avoid all the bad advice that is handed out by this guy Ken.

Don't take offence Ken, but you really do hand out some really shit advice when it comes to Anamorphics.

Stay away from the bright coloured cheap ones (gold, red whatever), as they are a waste of time - too big & really too much trouble.

Focus through - Century Optiks or Isco Widescreen 2000

Dual Focus - Kowa or Singer/Sankor

Single Focus - Iscorama

Just stop posting & take a step back for a second or two.

Have you done this?

Now take a long hard look at this thread.....are you seeing how childish & stupid it all is?

This guy probably doesn't exist & if he does, why would you waste anymore time or energy on him.

There are some people, in this thread, who are on the verge of ruining this forum, if that hasn't been done already.

Its been coming a while & I've posted a lot less over the last year or two and I've noticed a lot of the other usual posters becoming more & more silent too. ES was a big part of this, but there are others too & it was such a nice interesting/different place to come to. It's a shame!

If you're that bored, go and watch a film or take a walk or how about interacting with real people, have a drink & a laugh.

This kid wants the attention...so just walk away.

Not to put a downer on all this, but shouldn't you guys move off/away from this forum?

This is Andrew's forum/blog, after all & he might not take too kindly to all of this.

Remember that you might be dragging his name down with yours & this scammer.

Have any of you checked to see what he thinks or what steps he is taking? Might be worth doing, before you rush headlong down this route.

Just saying, because in the past he was quite quick to ban people for a lot less that what this kid has done & what you are doing.

41 minutes ago, dhessel said:

I doubt a group of scammers would have even bothered to comment on this thread at all or try to make good with the victims. They would just pack up and move on laughing all the way as you said. Your attitute and insults to others are out of place and totally uneccessary. They have your oppinion and you have yours but probably none of them are going to call you a fucking idiot, either. 

They're Trolls & they did it for 3yrs (is that a record?), the scam just happened.

And yes, if this guy/s are allowed to stay here & carry on trolling us, then fucking idiots is about right!

Don't like like it, boohoo....I call them how I see them.

Is this epic thread the Trolls final victory? Probably.....

23 minutes ago, Ed_David said:

Took a lot of strength to do that, Ebrahim.

Proud of you.

Agreed - let's all move on .  Tomorrow AM should be the tracking numbers.

I'll tell your friends it was all a mistake once I see that they get their rangefinder and money returned.

Hopefully after all is said, and done, Andrew can find mercy in his heart and delete this thread so when someone types in your name into google, this doesn't pop up. 

p.s. Those are some really beautiful images!

The film you are making looks gorgeous too.

What was the camera/lens?

Also the homemade LED light is pretty brilliant.

20 minutes ago, Snowfun said:

If you're genuine, why not stay involved here (with Andrew's permission)? There's a lot to learn and one lesson might be for you to realise that you CAN contribute from your experience not merely fabrication. You live in a fascinating part of the world - potentially a useful contact! Realise that from now, trust has to be earned. Respect has to be earned. But both are worth working for. Good to see this step forward.

What the fuck are you guys on!

The guy/s (probably more than one hence the up'n'down English) scammed people, shall I say it again SCAMMED PEOPLE!

He got caught out & now you want to make friends with this piece of shit again?

You're a bunch of fucking idiots.

A thief comes into your home, steals from you & your solution is to let him back in?

This guy & his friends are laughing so hard - welcome to the wonderful world of being scammed & trolled.

The guy should be banned & the thread should stay as a permanent record, for us & everyone that might google this piece of shits name. When you get convicted of a crime it stays on your permanent record & you have to admit that you're a criminal everytime you apply for a job or whatever you might have to do for the rest of your life! The same should apply for this idiot - he committed a crime & this should forever be his grave..

Wow! The things you miss when you have a long day at work.

Well he finally confessed, the American way, with a gun to his head.

Think the quote goes - "In the beginning, there were big men & small men. Then Mr Smith & Mr Wesson came along to even the score."

What ever you do, DO NOT forgive this guy or let him continue posting here.

He's a lying scumbag thief & that's all. No great cinematic brain, just good at fooling people. Sad....