JohnBarlow

372f6b6013f928b1dbcf7bf15eb46bb2

I removed/unscrewed the spiral for projection use which reveals a 50mm thread, then its a 52-50 step down ring then into a helicoid which you can buy here 
 
http://www.ebay.co.uk/itm/M52-to-M42-Adjustable-Focusing-Helicoid-35mm-90mm-35-90mm-35mm-to-90mm-Adapter-/170840812847?pt=UK_Photography_CameraLenses_Lens_caps_hoods_adaptors_ET&hash=item27c6e7ed2f
 
Then just add some M42 extension tubes depending on the camera, for mirrorless you will need size 1 + 2.
 
The tripod mount ring is padded with some rubber strips cut from a sheet so its nice and sturdy.for this 4 inch front optic
 
This lens is part of a family which mount the same way, the set is 
 
1 ISCO Ultra AV F3.5 200-300mm purchased in England for £20 
2 ISCO Cinelux AV F3.5 110-200mm purchased in Germany for €14 
3 ISCO AV F3.5 60-110mm purchased in US for $11 
 
so the helicoid gets a lot of use as well as for other lenses....
 
The lenses suffer from PF in high contrast areas which is easy to remove in post, see the 1:1 pixel below. The image is pretty good at 1080p
 

I thought I would introduce you to some big glass which can be had for cheap, in my case I paid £20
 
The ISCO 200-300 F3.5 is a Vario lens (not a zoom) used for 35mm slide projection, has a 4 inch front optic and is easily adaptable to any camera.
 
First the lens followed by some test shots all at F3.5 of course
 

http://en.wikipedia.org/wiki/New_Brighton_Tower

I thought I would introduce you to some big glass which can be had for cheap, in my case I paid £20
 
The ISCO 200-300 F3.5 is a Vario lens (not a zoom) used for 35mm slide projection, has a 4 inch front optic and is easily adaptable to any camera.
 
First the lens followed by some test shots all at F3.5 of course
 

Hi guys !
 
Yes I have just received the GH4 this morning :)
1st test : why not put my 60’s baby Hypergonar anamorphic 1.75X lens in the 4K cinema mode ? :)
Fast filming, run and gun documentary style, focusing improvisation
Doing 4K is for me like in 2006 when I went from SD to HDV. A huge orgasm ! Viva GH4 ! :)
Baby Hypergonar anamorphic 1.75X lens
on Qioptiq LINOS Mevis-C C-mount lens 35mm f1.6 (most of the shot were taken at f2)
No diopter, no CC, variable Cokin ND filter
EOSHD guide cineV preset settings
4KC mode
1080P streaming version on Vimeo, 4K version available for download
180° shutter speed
200 ASA
 

 
 

I thought I would introduce you to some big glass which can be had for cheap, in my case I paid £20
 
The ISCO 200-300 F3.5 is a Vario lens (not a zoom) used for 35mm slide projection, has a 4 inch front optic and is easily adaptable to any camera.
 
First the lens followed by some test shots all at F3.5 of course
 

I'd love to share this optimism, but every single time a Sony camera is announced it looks like the best thing ever... on paper.
 
Yes a 4K sensor can make amazing 1080, like in the Cxxx series.... but will it?
 
With most of their products, when they're in our hands all the flaws and intentionally reduced features come to the fore. They just don't seem to make as 'complete' products as Canon. There are good paper features, but something lets them down...
 
I'm not cynical, I'm just sceptical. or after so many years, perhaps realistic :S
 
The lack of ND filters is annoying too.

I believe it refers to AFF mode. That has the spatial awareness to detect the direction an object is travelling in and whether the focus point should move forwards or backwards.
 
Of course if the train is coming towards the camera at 200kph I wouldn't like to be the one to find out if it tracks or not :)

Then you might want to buy a regular step down ring and just glue it to the back of the Sankor. That fits every budget, but it's a very poor solution, I'd say.

Yes I see, clamping the rear cell is not such a robust solution and is not ideal for many reasons.
A good design would protect the cell from damage.
 
A better mounting solution is required which would enhance its value.
If you are interested in having something custom designed for this scope, PM me for details.

At last a chance to see this unit perform. Perhaps you can show some daytime footage?
 
These units show up about 4/5 times a year, always without the back lens which would have been a Cooke Speed Panchro F2/50 or similar with focus mechanism. Before the resurgence of interest in anamorphic with the advent of large sensor cameras over the last 5/6 years, it seems that these units were scavanged for the Cooke SPs which is a great pity since the complete unit would be quite a treasure.
 
How are you mounting it, do you have a picture to show?

Honoring My Father is the story behind Keith Kadoyama attending the Lantern Floating Ceremony every year. The Lantern Floating Ceremony honors our loved ones who have passed away. Keith honors his father Mitsuo Kadoyama, and he tells his story. Thanks to my good friend Keith for doing this.  I conceived of the idea when I saw the announcement just 2 days before, and I'm glad he was up for the challenge.  I shot all of this myself, so it was a lot of hard work!
 

 
Shot on a Panasonic GH4, 4K with Panasonic LUMIX 12-35mm X lens and SLR Magic Anamorphot and Tiffen Vari-ND Filter
GH4 shot with CinelikeD Contrast -2, Sharpness -5, Noise Reduction -5, Saturation 0, Hue 0
Master Pedestal +15, Highlight -4, Shadow +3, 0-255
F2.8, 1/50 sec, ISO 200 w Vari-ND, ISO 800 without
Interview Audio: Rode NTG-2 shotgun mic with Rode Blimp on a Tascam DR-60D
Music by Escape Club - "I'll Be There"
 

An essential tool for filmmakers
http://www.davideubank.com/Good_Focus/pCAM_Film+Digital_Calculator.html

Yep, JohnBarlow is right I doesn't seem to be well balanced, that's most certainly the problem. 

As John has said put a book or something 2D with writing on it about 2m away & with you cam on a tripod, focus the taking lens.
Then put the anamorphic on & focus that, you might need to do some fine adjustments on both the taking lens & the anamorphic to get a perfectly sharp picture.
Also, can you zoom in to help you focus? Do it!
Remember, that the anamorphic has a min focus distance of around 1.5m, so if you get closer than that to something you'll never achieve focus.

The Canon EOS-M is a marvelous little camera that can shoot 720 24p RAW through ML.  It is a platform that can easily compete with the Sony NEX and now A series, but Canon isn't putting its weight behind it.  Canon and NIkon's business is just too spread out.  They're large, mostly stagnant corporations.  They're now in the business of protecting their bottom-line for as long as they can.  
 
If there's one thing Panasonic's GM1 proves, there will be no single perfect camera.  The kind of video you can get out of that thing, and silent-shutter stealthy shooting, is close to perfect.  For what it is, I would say it IS perfect.  If photography wasn't may main focus, I'd be GM1 this and GM1 that as bad as Andy!  In short, I don't know what anyone could do to improve on that little camera.
 
I've now been using the a7 for a few weeks.  So far, there is nothing major I don't like about the camera and I have a long history of Sony annoyances.  For small- full-frame shooting, it is close to perfect.
 
The Blackmagic cameras are not "sadly flawed" to me when I factor in what they can do for the price.  If you want professional-system RAW, at a consumer price, they are the only game in town.
 
I bet some executives at Panasonic, Blackmagic and Sony say, "Why is Andrew always complaining about what Canon and Nikon can't do."  If all you want to do is go out and shoot with the best camera available, who cares?  
 
Panasonic, Blackmagic and Sony (and a bit of Olympus and Fuji) are all on their way to building that perfect camera.  Who cares about your Dad's camera company that is beginning to smell like stale farts? ;)

There will be no Ãœber-camera, me hopes. Never. Ever. I love to walk and work in a camera-zoo, where strange creatures lurk in light or dark. For instance I love MFT-sensor cameras to be able to attach via an adaptor almost any "big sensor" lens. I also would like to own a Phase One middle format camera for stills at times (budget wise and what my wife thinks, I won't).

So instead: Lets be happy about all the strange beings, each adapting to different requisitions. No one to fit them all. Each interesting in their own way.

Cameras are tools.
Like any craftsman/woman, you should have a range of tools,
Some tools are better at doing things than others.
Going out to a job with just one spanner doesn't always cut it.
 
I keep an old Vidicon tube camera at hand just for special use. It has a dreamy unreal look which is hard to do in post. I pump its output (remember BNC?) into an old DV walkman deck. I also keep my old Super8 gear although film processing is getting harder to do.

Cameras are tools.
Like any craftsman/woman, you should have a range of tools,
Some tools are better at doing things than others.
Going out to a job with just one spanner doesn't always cut it.
 
I keep an old Vidicon tube camera at hand just for special use. It has a dreamy unreal look which is hard to do in post. I pump its output (remember BNC?) into an old DV walkman deck. I also keep my old Super8 gear although film processing is getting harder to do.

http://www.cameraeccentric.com/info.html
 
Fill ya boots ;)

http://www.cameraeccentric.com/info.html
 
Fill ya boots ;)

No disrespect to anyone, but I feel the notion that record labels are only now waking up to whats happening wrt to copyright infringement is lame.
 
The owners are really smart street wise tough business types. Gordy, Branson, Blackwell, Geffen etc 
 
The truth is they have failed to address this issue in the past which started in the early seventies en masse with the introduction of the C90 audio cassette. Even the BBC were encouraging people to send in their mix tapes later in the 80s,
 
The companies tried to get the Japanese to disable the record bias when a copyright signal was detected on the source - they failed
Later with DVDs they tried to get the software burner people to prohibit copyrighted works from being duplicated.- they failed
They even suggested a tax on blank recordable media - they failed.
 
There have been test cases similar to the 'Bob Monkhouse video recordings' lawsuit which again have failed.
 
My point is that if something cannot be policed then the universe is teaching you a valuable lesson. Woodstock and Isle of Wight festivals became free for a big reason - people power.
 
Technology affects many people in this new world, why should record companies be exempt? Are they Gods?. Technology has devastated lives by making millions of typists, drafters, shops, businesses, checkout tills, banks ad infinitum...     jobless.
 
Sure a new business model is required or a pay per view of material containing copyright. But good luck if you can make that work.
 
The notion that artists work is devalued is laughable. The record companies know all too well that any publicity is good publicity, smash your guitar on stage, get busted for substance abuse da da da.
 
Regarding the value of old material which has long since passed its sell by date, you only have to pop into Charity shops to find CDs for a quid DVDs 2 quid Paperback novels 50p. I think this places the value of this stuff into real perspective.- this stuff is one step away from landfill.
 
Anyway meet the new boss - same as the old boss   da dummmmmm dat dat  (oops how much do I owe ya Pete?)

What I don't say is just as important as what I do.... aaaaaahhh  :ph34r:  

I can buy a nice zebra Zeiss Jena Tessar 2.8/50 for 10 quid off ebay.
 
I can buy (indeed I own) a 1.4/24mm Nikon G for 1400 quid...
 
do the math ;)