Zmu

well i am not doing requests : )
that is the way to madness i am already bankrupt and mental enough.
i am not trying to achieve anything as i have a working item i think it is ok not for 5d size sensor and it is not an iscorama replacement.
but it should best the slr magic thing : )
i think?
unless they upgrade the mark 3 prototype to 4.

i am restarting my anamorphic project anyone with a blackmagic camera based in london that wants to meet and give me some feedback that would be great.
it would be handy if you had played around with scope lens before.
please ping me a message if interested cheers.

Oh yeah.  You won't catch me defending COPs.  I try to avoid that part of the package entirely.  It's never felt anything but clunky to me.  And for several releases several really important nodes just plain didn't work correctly.  And we're talking nodes that were really basic math.
 
After using Nuke for so long it's hard to not be disappointed with any other node-based compositor, truthfully.  I'm a .5-Alpha Nuker and one of the first artists to risk putting it into production, back on True Lies.  It was a text only, script-based compositor back then, in the style of Wavefront's TAV-Comp.  I was ready for anything better than Wavefront's Video Composer and until Nuke got a GUI I preferred script-based compositing anyhow.
 
By Apollo 13 and Strange Days the first version with a GUI (nuke2) was rolled out but it was like the wild wild west.  You'd kick off a six hour network render and halfway through you'd see things go haywire on the queue because the new lead programmer had pushed out a new version where he inverted his assumption regarding how a node might treat the absence of an alpha channel.  Stuff like that.  Good times.
 
I kinda got even with Bill for giving me ulcers with nuke2 when he was exiled from the software department to work as an artist assigned to a show, so that he could get some perspective on how his work affected so many people, and he got assigned to one of my teams, lol.
 
I use mostly After Effects these days.  I love the interactivity but really, really hate how inefficient the timeline paradigm is.

Hi,
 
I had such a good response last time I thought I would post my latest music video shot using an Optex anamorphic adapter.
 
https://vimeo.com/74284254
 
Shot on a Red One mostly in 2k crop mode 96fps I wanted to replicate the look of 16mm film. I love shooting in raw, it gave me lots of flexibility in post, using LUTs to get some really filmic colours.
Would be cool to get some feed back from some fellow anamorphic lovers.
 
Cheers,
 
Chris.

Hello everyone,
 
This is one way to learn to deal with Anamorphic footage in post. Here is a detailed tutorial on working with anamorphic footage in post, from dealing with lens distortion and squeeze factor, moving data between applications and rendering with the proper pixel aspect ratios. I will be updating this tutorial with more info as I move through the process and adding more applications as well. Currently I cover Nuke, After Effects, Video Copilot and Maya. The next one will most likely be Houdini but if you have any suggestions, something is missing or if there is a better way to do something please let me know. I really wanted a place to consolidate all of this info and make it available to anyone who needs it, so let me know if you found this useful.
 
Thanks
Rob B
  http://www.robbannister.com/working-with-anamorphic-footage-in-post/
 

 

All of Edgar Wright's films have had impressive or, at the very least, quite pleasing and slick cinematography and his most recent installment to his and Simon Pegg's "Cornetto Trilogy", The World's End, is no exception.  There's a great feature article covering the style and technical approach to the film in the September issue of American Cinematographer Magazine (http://www.theasc.com/ac_magazine/September2013/current.php).
 
When it got to the lens selection for the anamorphic portions of the film (once the scifi madness kicks in) I wasn't at all surprised that Wright and his DP went for a classic sampling that included C-Series lenses for their greater character versus new cinema anamorphics.  Wright likes to shine lights into the lens as much as anyone here (and he does it so much better than JJ Abrams).  Coincidentally, Panavision made a discovery at their Woodland Hills location, a B-Series that Panavision had failed to catalog and been long forgotten. 
 
 
Given the way a lot of discussions go around here over this anamorphic or that anamorphic, I had to smile when I read the part where this DP praises aberration and soft edges.  
 
 
 
 
...and I always like when they go into this sort of detail, about working or target stops used on a film.  Anyway, it's a nicely detailed story about a contemporary anamorphic film that's worth grabbing an issue for.  
 
Only God Forgives is likewise covered in this issue, and though it's not anamorphic it is, very surprisingly, a mostly practicals show with very few cinema lights used.  Having seen the film it's almost too hard to believe the information in the article. 

The listing of anamorphic is an error, or it might be for an isolated part of the film because this is, like Tree of Life, a mixed media film.  But the primary process used is spherical 35mm with some sequences shot in 65mm.
 
Deep focus, using wide primes and shooting at optimal times of the day are part of his dogma for the last two films.  He uses steadicam but a lot of the BTS shots of the cameraman that I saw had him in an Easyrig, or equivalent.  It's not actually a stabilizer so that could account for glitches in the movement.
 
He used a lot of locals.  Locations were scouted, particularly interiors, for how natural light played throughout the day.  It's an available and practical light film.  They didn't use movie lights.
 
http://www.theasc.com/ac_magazine/April2013/TotheWonder/page1.php
 
...they occasionally used some bounce but in every scene they placed actors relative to natural light or practical lights and it's just that beautiful. 

I'd like to share a video I shot with SUN Anamorphic + Helios 44M with HOYA diopters for close-up.
 
https://vimeo.com/70412970

Thanks for posting, however I take issue at your pricing. It is extortionate.
 
You can get a Kowa 8Z for $500.
 
$2200?
 
I know that includes the Tokina, but I still would encourage all sellers of anamorphic lenses to be reasonable and to not start another price bubble like we have with the Iscorama.
 
Thanks.

remember tommy a long time ago i told you some info about time and promises above all bad excuses.
you are in the time vortex 8 months 10 months.
paying up front speeds the process up
not.
i told ya so all those months ago.
just sayin

never believe a man that has your money and your iscorama.
 
as my dad once never said to me.
son dontes you ever let a man 
hold yer balls and yer wallet at the same time.
 
WELCOME 2
diemonland
you have entered the time loop into the infinite.
some people die waiting i hope your young and spunky : )
time runs but in vandiemen land it is still.

http://vimeo.com/70387959
 
For this video, I shot with a slower CF Card (60MBS) that gave me 1152 X 864 resolution at 24 FPS in 4:3 mode without skipping frames. I could shoot for at least 4 minutes (I didn't try shooting longer). I did my color correction with Adobe Photoshop and converted to 2304 X 864 in Compressor.
 
Anyone shooting anamorphic video in 4:3 with a 2X lens? Please share workflow and shooting tips.
 
Thank you.

For me, there is no alternative than grabbing the ones I can and get them shipped home. I would dare to say most anamorphic lenses in Brazil are placed inside my house - and I'm not kidding about it. hahahaha.
 
I've only found ONE local set for rental, it's badly damaged, veeeery old, and has an overpriced day fare ($1000/day).
 
I've also made some good money selling back the lenses I wouldn't need, and buying whenever I get the chance. After a while you see it's possible to get some good deals.

It totally rehouses the isco, in a metal body, with follow focus gears, and closer focusing without the front element popping out. :)

I came close to attempting this mod myself, but decided to bite the bullet & send my mint single coated Nikon Isco[30mm] from Aust all the way to Vandieman Films in London to get re housed - I bought a new Pelican case for the journey - but still bloody scary!
...now it's there I'm glad I did it - I'll post upon my baby's return  : )

I came close to attempting this mod myself, but decided to bite the bullet & send my mint single coated Nikon Isco[30mm] from Aust all the way to Vandieman Films in London to get re housed - I bought a new Pelican case for the journey - but still bloody scary!
...now it's there I'm glad I did it - I'll post upon my baby's return  : )

Am I the only person here who likes this lens?
I'd choose it over a double focus system 95% of the time! (of course, with diopters)

http://vimeo.com/68443110
 
This is my new graphic, in animated form. I created and animated it in PowerPoint (I've been animating in PowerPoint since elementary school). I then played the animation on my Dell 30" monitor and recorded the monitor with my GH2, Kowa anamorphic, Konica AR 40mm and Tokina diopter all on a tripod. Then I moved the monitor out of the scene and recorded various flares with a flashlight. Brought it all together in Final Cut Pro, set the flares as additive layers, and added some grain overlay effect. I think the outcome is something clean-cut but with a dash of organic mojo that is difficult to achieve with an all-digital animation. There's no faking those real flares!
 
 
 
 

Bioskop, I think you mean the 62mm one, that`s +1.6 and achromatic. The 72mm are usually +1, and both are still quite cheap.
 
 
That's it. From now on, I'm never writing achromatic again. Just acrobatic. It's muuuch more apropriate, and enhances their quality and performance! hahahahahahaha :D

Thanks and for the record I strongly agree. However runs their marketing program is completely out of touch. It is as if they went through Twitter looking at follower numbers and giving out cameras based on that.
 
None of whom have the MFT camera are actually MFT shooters! None of them use MFT cameras like the GH2 or AF100 for their filmmaking work.
 
Few of them are technical enough to give good beta test program feedback either.
 
I'm disappointed.
 
I had tons of stuff to try on the MFT camera... OCT 19 anamorphic, SLR Magic 35mm T0.95 and gems from 2-years worth of collecting lenses to suit the sensor size, in terms of my GH2 MFT lenses, yet some marketing muppet thinks 30,000 spambot followers on twitter are preferable.

lesson learned....  
 
not one person dealing with this issue seems to have contributed positively at all to this forum.  Just come here to take take take.  either selling or buying, they bring NOTHING to the forum.  Personally I think there should be a stop to all this posting of ebay listings, personal sales, etc.  at least topics of this nature should be only postable and visible by regulars.  
 
Also, someone please close the ebay listings topic.  this has to be the most ridiculous idea ever.  Share your findings with the world, kill any chance of you or anyone else savvy to anamorphics getting a bargain because everyone and their grandma can come in and see a run down of anamorphics worth bidding on.  If it were a secret topic to regulars I'd understand, but literally, I'd say that topic alone is contributing 50% towards the current silly inflation of anything with a squeeze ratio! 

https://vimeo.com/67529528
 
Little weekend project. Mainly an excuse to have fun with the kids, and to start re-familiarizing myself with shooting and FX after a long hiatus.
 
Taking lenses were old Canon FD 28mm and 50mm.

If you're after close up filters add '95mm Focar A' & '95mm Focar B' to your list of Ebay saved searches - these are vintage Voigtlander +1 & +2 diopters. I believe they were made to suit an early Voigt zoom lens and are quality plus.
 
I say this because I just picked up a mint 95mm Focar B for $50!

"Hey Zmu, do you mind if I copy this post of yours into the Diopter thread? Never heard of these Focar before!  :)"
 
copy away : )
 
Interestingly 95mm filters crop on the 54 /Voigt 25mm f.95/AF100 - but 112mm filters don't : )
[this combo is by far my fav - amazing 1.5x organic images!]
 
However the Focars are amazing with the 54/Pana Lumix 35-100 f2.8/GH2 or AF100
 
 

Just sharing
:-)
 
https://vimeo.com/67056502
 

If you're after close up filters add '95mm Focar A' & '95mm Focar B' to your list of Ebay saved searches - these are vintage Voigtlander +1 & +2 diopters. I believe they were made to suit an early Voigt zoom lens and are quality plus.
 
I say this because I just picked up a mint 95mm Focar B for $50!