Zmu

The goal here was to use the Sony RX100's Active Image Stabilization + the plugin Lock & Load to get steadicam-like fluid walking shots without too much CMOS jello wobble or digital zooming on the image. You be the judge...
 
http://vimeo.com/57910477

[attachment=420:7D Trumpetsmall.jpg] This is an image of the coolest looking anamorphic setup I have ever seen. Cinevision 8mm 1.5x anamorphot, helios zebra 44-2 (with matched blue flares to match the horizontal blue flare of the cinevision) and the zacuto evf with 1.5x desqueeze. due to the amount of flare he has fitted a hood and variable nd which is probably a good idea for sunny days. this is how the system looks:-
 
 
 
flares:- http://vimeo.com/58577845    http://vimeo.com/59005040
 
 
use:- http://vimeo.com/58784632

First testing of modifications I've made to the 12mm taking lens & the LA7200.
More details on Vimeo : )
 
https://vimeo.com/58622880

it will probably be an easy modification.  if there is rubber grip on the focus ring, carefully prize that off and there should be a few grub screws underneath.  it'll likely be a case of adjusting the focus ring so the scale is slightly off (you'll lose minimum focus by a few inches, and gain slightly further than infinity).  This is of course depending on the +/- amount of adjustment they left on the lens either side of correct focus calibration.      

I finally had a chance to take my Lomo square front (OCT18 mount) out:

[center]http://vimeo.com/44522585
[/center]

I actually meant to shoot more footage for a stronger shot sequence but the Lomo is the MOST frustrating lens that I have EVER worked with! It also delivers my favorite image! Very, very cinematic.

I bought mine from au8ust on eBay and it is immaculate. Truly a beautiful piece of glass. But the design of the lens is very frustrating. The anamorphic and spherical elements are held together by one small tab (i.e. one point of contact) and focusing is extremely difficult. The front element is very heavy and if I ever tilt the lens down, gravity causes the two elements to separate, distorting the image. And even with the stopper that I added to the Velbon support track to keep the front element from falling off completely, tilting up or down puts the weight on the taking lens makes turning the focus ring very difficult. I have never cursed so much at a lens and many of my shots were not usable.

But there is an [i]incredible[/i] look here, probably my favorite of all of my lenses, and I am determined to make it work. I am currently working on a few tweaks that may make it much more usable.

One more thing: This is not a low profile lens. Every single person who walked by stopped to ask what it was, which was kind of distracting.

Shot out in the Hoh Rainforest. Heavily used the Kenko .3 105mm diopter. Edited in Adobe Premiere.

https://vimeo.com/52401060

no disrespect guys but that revlon clip is odd and stan says it is a pretend film clip fake and rather rotten.
he does not believe it is even scope and states it is as real as the dirt and scratch film marks put in by a bland digital post guy.
it does not look like film,like real scope has no redeeming features not even the girls.
stan says he believes that the clip is not cinema but bad girl location digital actuality.
a rough old eyes wide shut party for the croatian mafia with kubrick nowhere to be seen.


real anamorphic glass and actual analogue 35 film stock even in bad light it is just so natural.
so lovely
so sexy and cinematic.

stan says he wants to hang out with the living hot hot h&m girls in asia.
rather than the revlon digital vampire dead.
the revlon masonic stiffs of the cote d'azur,italy or croatia are as nothing to the living breathing hotness of stan's future wife Daria Werbowy.
by hook or crook or just old fashion kidnap stan will get his girl.


[b] [/b]


[url="https://vimeo.com/13863937"]https://vimeo.com/13863937[/url]

I'll work on getting some 7200/Voigt 17.5mm & Oly 14-35mm footage up on my very neglected Vimeo page
 
meanwhile here's some footage I shot & graded for a TVC using the Voigt 25mm f.95 with a [cheap&nasty]Soligor 1.33x adaptor - without the Tokina +.5 Achro the Soligor is completely unusable for anything  ...far far worse than a 7200 with no diopter. 
https://vimeo.com/37659517
Both m4/3 Voigts [17.5mm & 25mm] are my fav's by far - they have an 'organic' character about them - most importantly of all is perhaps the fact that they can focus slightly beyond infinity [which is apparently not unique] I think these lenses are beautiful when used with a 7200 & +.3 105mm c/u filter.
The BMCC m4/3 version is gonna be an interesting addition in this formula.

ROFL
 
You can't prove you're right and can't post samples or references to support any of your claims.  You've been doing nothing but guess work on this subject and making the fatal internet mistake of assuming your experience or expectations are true for the world.  Not trying to beat you up here but you've not presented anything compelling at all or consistent with information that's a google away, if not already known through experience.
 
 
edit: the harsh reality is not everyone will be able to afford or support their interests.  They should design their projects according and work within their limitations.  They shouldn't be telling themselves or other folks stories so they feel better about it.
 
 
edit2: also, 35mm is considered medium focal length for 35mm-gauge photography (35mm - 50mm) and under this is considered "wide angle".  This does not change "because anamorphic".  The reason?  The same reason cropping and clever filters will never recreate the true magic of anamorphic photography.  Stop thinking two-dimensionally.  
 
While you must be aware of what happens in the two-dimensional frame, a choice of lens, and the fact of its existence as "wide angle", "medium/normal" or "telephoto", you should also consider its handling of depth, perspective and relative shape and movement.  None of that changes based on sensor size or anamorphic attachment.

No.

Excuse the crappy family day out video. A lot of this was shot at 28mm with a Tokina 28-80 and the Bolex 16/32/1.5x. My Kowa 8Z doesn't perform this well, and I've not even seen ISCO render detail as good as it either. Feel free to download the 1080p MP4.
 
https://vimeo.com/48683270

GH2, 28*1.83 = 51.24 vertical equiv
Sony APSC, 35*1.5 = 52.5
 
Trust me, the image with the hacked GH2 with a Bolex in front stretched out 1.5x is as detailed as it gets. It's got more detail than any native spherical Canon DSLR at 1080p. Sharpness is false, detail is king. Projected, these little super anamorphots hold up incredibly well.
 
I think I need to repeat. I see absolutely no degradation in image detail using the Bolex 16/32/1.5x on any of the primes/zooms I've used it on, all the way up to wide open aperture. Obviously apart from the horizontal softness that is introduced by stretching, and the difference in out of focus rendering. It definitely can add extra blooming, so hood/mattebox very useful.
 
I think you're getting hung up on focal lengths. I know a good range is important, but making comparisons across the range of sensor formats doesn't really say much. In most cases you're talking stepping a foot back or a foot forward, with very little change in image geometry. Only time I need wide for establishing shots, I'm usually quite happy switching back to spherical (Tokina 11-16), which needs a bit of work to match the anamorphic effect.
 
Nice truck shot by the way, really nice. You can still see the astigmatism at the edges of your image, which no amount of diopters is going to rescue. It's just flawed glass for large sensor. Just the same as my Optex 16:9 and Panasonic LA7200. I also have the Tokina ATX +0.4 Achromat, Heliopan +0.25, Cokin P101.
 
The quality of the shot distracts you from edge softness, so it still wouldn't be a stopper for me. Plus, filming talking heads, edge softness is rarely a problem. Still, Bolex, ISCO and Kowa are in a different league. I've tried them all.

Just thought I'd share this also on the anamorphic forum specifically. Gotta love the Kowa image!
 
http://vimeo.com/56519741

don't let smaller size dictate your diopter options. a 72mm diameter wont vignette on any usable focal length. if it vignettes with a 72mm diopter it means you are using too wider taking lens and likely will be full of CA and edge softness anyway.

a nice rule I feel should be made testament when using any anamorphic adaptor (based on the fact that panavision offer 35mm widest option (designed for 4 perf 35mm film). If panavision and users of panavision dont feel the need for wider than 35mm on anamorphic then why would anyone else?:-

s35 or aps-c:- no wider than 35mm taking lens
m4/3:- no wider than 25mm taking lens (providing similar field of view to a 35mm lens used with s35 sensors)
s16mm:- no wider than 16mm taking lens (as above)

if making decisions like using a 12mm taking lens are dictating your diopter choice your priorities are wrong. Just because people dont see vignette when using a gh2 with a 20mm pancake doesnt mean the images are lacking in other nasties like CA and horrible soft edges. Id rather use a longer taking lens, get less edge distortion/CA and be able to use magic diopters like the +0.4 than use a wider taking lens and have to invest £350 in a century diopter of 105mm.

just my take.

re. attaching diopters. buy some panels of balsa wood, 10mm thick (easy to cut with a scalpel), cut a 72mm hole in it so the tokina sits in snug (use the outside edge of the tokina as your stencil). cut the balsa wood so it is the same size as the front of the la7200. glue some neodymium magnets or velcro to the balsa wood and the la7200. remove the diopter and then stain the balsa wood with a wood stain that dries hard - so it absorbs into the wood and wen dry adds strength. in order to ensure you get as little possible vignette you want the diopter to be as close to the front element of the la7200 as possible

if you are looking for one of the best anamorphics ever this is it a tiny gem.
yes it may seems expensive but it will beat any new lens at it's price point and it seems to have had a service.
put in an offer who knows.
i have nothing to do with the seller just sayin that in quality terms i think these should be goin for over 2000 dollars.\</p>
in some ways better than many of the hollywood movie anamorphics.
it is a dual focus system lens.

<p><a href="http://www.ebay.co.uk/itm/Bolex-Moller-Anamorphot-19-8-1-5X-Anamorphic-lens-Baby-Iscorama-Kowa-Adapt-M-4-3-/221167649110?pt=LH_DefaultDomain_0&hash=item337e9e8156">http://www.ebay.co.uk/itm/Bolex-Moller-Anamorphot-19-8-1-5X-Anamorphic-lens-Baby-Iscorama-Kowa-Adapt-M-4-3-/221167649110?pt=LH_DefaultDomain_0&hash=item337e9e8156</a></p>

i have nothing for you barlow.
who are you?
why do i need to prove anything to you
you think you know best
why the fuck would i tell or show some shitter i do not know my projects.
you are a bore.
fishing are you serious from you fuck off : )
i was shooting super 8 scope when you where still jerking off to jilly johnston and sam fox
i have had 40 more iscoramas than you have ever had
destroyed my first one in the 1980s.
i do not need to here pointless theory from you if it is true or not is not important.
it has all been done by germans americans and french men decades ago.
bottom feeding that is all.

how many iscorama have you had 1 or none?
why do you think i do not know about iscorama design
for your info the 2 double element cylindricals where so superb that the 2 front single element focus groups could be used.
but you understand all of this cos yer gonna bring down slr magic with the power of the barlow brain.<br />
out of ideas?
go fuck yourself : )
did i say i had any fucking ideas am i messing people about in any way.
i am not in a race i tinker and fiddle with lens
i have got plenty of projects but may not bother because of cost.
i may do stuff i may not it is not a big deal.
feel free to blow the moving picture market wide open orson einstein.
just because i don't show my stuff or sell stuff does not mean it does not exist.
anyway let us agree that you know better than everyone and leave it at that.
good luck with the china paper work means nothing from a legal position though..
please be gentle on us john.
what has vidatlantic and slr magic and redstan ever done to you apart from ignore you.
 

Hi JG, Isn't at all difficult to aligned. These time was my first shot with Moller, so I got my first experience and sometime I got hurry to shot and misaligned some shots. My adaptor is a crap...You need a good one to handle better.
Here are 4 more videos with Moller...










Best regards.

Don't forget there is an aspect of good ergonomics with this camera... no need for a rig, a very full set of features and good sound department makes it very pleasurable to work with... and it can in the right hands produce stuff like this:
 
http://vimeo.com/22958276

I enjoyed that, especially the visual of the women cutting the string and the way that it worked with the music. I think that the "Death" character and his liquor could have been a little more foreboding but the actors were good. It's nice to see anamorphic shots coming from wide open spaces instead of urban settings every once in a while. 

i sold 40 of the tokina single element +0.5 and
70 tokina +0.4 achromatic doublet.
it took 2 mins of flipping in and out to see the power of the achromatic design.
clearly the doublet advantage is in the f1.4-f4 range
by far the biggest improvements was with century/optex design and other slightly rough or off anamorphics.
what you want with the best anamorphics is the min introduction of error from a poor additional quality optic.
most single element stuff is shit and will degrade the image.
schneider are using single element for price point they shift more at 250 dollars than a doublet at 700-1000.
i have had many optics ex nasa and they loved doublets.
over 100 anamorphic nutters have the tokina.
the original price was quite good selling today would get some people a nice profit but i see people keeping the achromat and selling the anamorphic.
clearly they cannot all be mind controlled idiots.
it would be a lot easier if we knew exactly what gear mr barlow has and if he has done these tests himself.

i have always offered a full refund on the tokina doublet never had even one returned even when the buyer had a single element tokina at the same time.
as i stated before economics are behind this cemented doublets are more complex and you cannot cut corners with them so they should always be an improvement.
iscorama is one of the few lens that does not degrade the image hitting the taking lens.
the tokina doublets do not degrade the image either.
making statements and hinting that low power doublets are pointless is futile.
if you have one john why have you still got it ?

i have a lovely 5cm nikkor 1.1 lens from the 1950s i also have an f1 leica noctilux.
do i really need them when i can sell them for thousands and buy a cheap noctor 0.95.
do i need the doublet or these other lens yes simply because the quality is fantastic and superior to other stuff i have tried.