Sebastien Farges

Looks pretty sharp. Apparently, it was optimized for full frame sensors, so it can handle M4/3 no sweat. The built-in focus gear, close focus and non-rotating front makes it more practical than the Iscorama ever was. Looks like a win!

Whoa so this is basically like a modern day Iscorama? Sweet

AIVASCOPE 1.5x anamorphic lens, 1st hands-on
https://vimeo.com/341289409
I just had the chance to film with the new Aivascope 1.5x anamorphic lens on my Panasonic GH4.
It’s a very sharp lens working great with some of my primes. It’s a single focus lens (you do the focus on it and let the prime on infinity)
In this movie you will see different shots done with :
GH4 4K uhd (no CC) 24p
Lumix 20mm f1.7 btw f1.7 and f4
Pentax-m 40mm pancake f2.8 at f4
Sicor-XL MC 28mm f2.8 at f5.6
 
Despite the fact the Pentax-m 40mm is less wider than the others, I like the result with it and the Avaiscope.
 
I’ve used a Dorr variable ND lens, on the GH4 the picture mode is on « portrait » with slight ajustments.
I did no color corrections at all.
I will do some test on full frame camera later.
Thanks for watching.
 
Heres is the characteristics of the Aivascope 1.5x lens :
Designed for Full Frame systems.
Recommended taking lenses for full frame (16:9 aspect ratio) from 50mm to 90mm
Single focus From 80cm to infinity.
Non rotating front element.
Focus ring rotate 190 degrees.
Lens mounting clamp 52mm
Filter size 82mm
Weight 700 gr.
Integrated focus gear.
Price : 2 250,00 €
 
Aivascope facebook page : https://www.facebook.com/aivascope/
 
thanks to Aivascope, Marguerite, Nina, the graphers and the people of Bordeaux and Floirac.
a Seb Farges Movie
music :
Corrina Repp "The Beast Lives In The Same Place"
Amplitude Problem "Into The Night (Instrumental)"
 
08th june, 2019
 
 
 
 
 

AIVASCOPE 1.5x anamorphic lens, 1st hands-on
https://vimeo.com/341289409
I just had the chance to film with the new Aivascope 1.5x anamorphic lens on my Panasonic GH4.
It’s a very sharp lens working great with some of my primes. It’s a single focus lens (you do the focus on it and let the prime on infinity)
In this movie you will see different shots done with :
GH4 4K uhd (no CC) 24p
Lumix 20mm f1.7 btw f1.7 and f4
Pentax-m 40mm pancake f2.8 at f4
Sicor-XL MC 28mm f2.8 at f5.6
 
Despite the fact the Pentax-m 40mm is less wider than the others, I like the result with it and the Avaiscope.
 
I’ve used a Dorr variable ND lens, on the GH4 the picture mode is on « portrait » with slight ajustments.
I did no color corrections at all.
I will do some test on full frame camera later.
Thanks for watching.
 
Heres is the characteristics of the Aivascope 1.5x lens :
Designed for Full Frame systems.
Recommended taking lenses for full frame (16:9 aspect ratio) from 50mm to 90mm
Single focus From 80cm to infinity.
Non rotating front element.
Focus ring rotate 190 degrees.
Lens mounting clamp 52mm
Filter size 82mm
Weight 700 gr.
Integrated focus gear.
Price : 2 250,00 €
 
Aivascope facebook page : https://www.facebook.com/aivascope/
 
thanks to Aivascope, Marguerite, Nina, the graphers and the people of Bordeaux and Floirac.
a Seb Farges Movie
music :
Corrina Repp "The Beast Lives In The Same Place"
Amplitude Problem "Into The Night (Instrumental)"
 
08th june, 2019
 
 
 
 
 

AIVASCOPE 1.5x anamorphic lens, 1st hands-on
https://vimeo.com/341289409
I just had the chance to film with the new Aivascope 1.5x anamorphic lens on my Panasonic GH4.
It’s a very sharp lens working great with some of my primes. It’s a single focus lens (you do the focus on it and let the prime on infinity)
In this movie you will see different shots done with :
GH4 4K uhd (no CC) 24p
Lumix 20mm f1.7 btw f1.7 and f4
Pentax-m 40mm pancake f2.8 at f4
Sicor-XL MC 28mm f2.8 at f5.6
 
Despite the fact the Pentax-m 40mm is less wider than the others, I like the result with it and the Avaiscope.
 
I’ve used a Dorr variable ND lens, on the GH4 the picture mode is on « portrait » with slight ajustments.
I did no color corrections at all.
I will do some test on full frame camera later.
Thanks for watching.
 
Heres is the characteristics of the Aivascope 1.5x lens :
Designed for Full Frame systems.
Recommended taking lenses for full frame (16:9 aspect ratio) from 50mm to 90mm
Single focus From 80cm to infinity.
Non rotating front element.
Focus ring rotate 190 degrees.
Lens mounting clamp 52mm
Filter size 82mm
Weight 700 gr.
Integrated focus gear.
Price : 2 250,00 €
 
Aivascope facebook page : https://www.facebook.com/aivascope/
 
thanks to Aivascope, Marguerite, Nina, the graphers and the people of Bordeaux and Floirac.
a Seb Farges Movie
music :
Corrina Repp "The Beast Lives In The Same Place"
Amplitude Problem "Into The Night (Instrumental)"
 
08th june, 2019
 
 
 
 
 

This is my first test of using the 6K 29,97p 3:2 ratio on the new GH5.
I'm happy with the results, please tell me what you think.
But I want to share my teething troubles working with the GH5.
1- The first question was which focal lens setting did I have to choose for the stabiliser. My prime lens is a 35mm, but did I have to include the 1,75x factor of the anamorphic, that is influencing only on the width ?
My first impression is that the internal stabiliser is not really the friend of anamorphic lens, some distortions or rolling shutter. There is some small moments in the movie that you can notice, but most of the strongest were unedited.
Because of the prime lens which is 35mm, and maybe the wildest I can use with my baby Hypergonar anamorphic lens, I had to zoom in the image sometimes, when it's in movement for example, to avoid moving vignetting in the frame. I did up to 17%.  
2- the H265 codec that is used for the 6K mode
I had problems editing the 6K mode video. I have Premiere CC2017, but even when it downloads the H265 / HEVC codec, I couldn't really import the original files. Some of them were working, but most of them had strange result on the timeline with green colors. And not to mention the lag with playing the video, on Premiere or VLC.
I test it on two different iMac, mine that is a end 2012 with 24 Go of RAM, and at the university that is a 5k iMac with 8 Go. 
So I transcoded the video with Handbrake, which surprisingly accept the 5184*3486 with H264 5.2 level. Then I decided to export directly in anamorphic without the black bars, in 5184*1976, then doing a same dimension sequence in Premiere.
Badfully I couldn't export the same dimension when I finished my edit on Premiere, so I did it in the maximum that my version of Premiere accept at my home : 4K (4096 maximum on the width).
When I will find the solution, I will export it in its original dimension 5184*1976.
Having troubles with a new camera and a "new codec" and new dimension "6k" is not new for me and I accept it I remember when a long time ago when I bought the GH1 I had to switch from Final Cut Pro 7 to Premiere to be able to edit the H264 clips directly on the timeline. 
Thanks for watching the movie and do not hesitate giving me your opinion and your experience with editing 6K material from this new beast named GH5 !
GH5 6K 5184*3486 3:2 29,97p export to 4k 29,97p anamorphic 4096*1560
prime lens : Qioptiq 35mm f1.6 wide open most of the time
anamorphic lens : baby Hypergonar 1.75x
focus module : SLR Magic Rangefinder Imperial
ND filters : Hoya 32x, 4x and 2x
slight black and white levels / no color correction
cropping due to vigneting of the anamorphic due to the stabiliser from 0 to 17%
Thanks to Virgil for his GH5

Thanks, I will try so.

Thanks elgabogomez  I do appreciate. The problem is that the vignetting is moving with the stabilization... For a medium shot maybe between 3 and 4 meters.
Thanks Teemu, I've watched your video, nice work.
I told 35mm to the GH5.
I don't have the GH5 with me but I don't think there is slo-mo yet on 4:3 aspect
anamorphic mode is in h264, 10 bit I don't think so. I have to check. I shot only in 6K, which is 8 bit
bad fully not yet desqueeze in the camera
 
 
Thanks PannySVHS  No I was in natural mode -5 everywhere except saturation at +4. I hope firmware will give better results for the IBIS, such as choosing the horizontal or vertical stab 
 
yes it should be better with this choice
We'll see if one day we would have the choice of type of IBIS
 

Hello Seb, really Nice video!
I was wondering, to avoid the wobbly background, perhaps you can stabilize the roll axis by using a monopod to only hold your camera more horizontal. Only for 40cm length for example. I look forward to see a test with a 50mm taking lens.

IBIS is doing weird backgroung movements everytime.
Please Panasonic make a IBIS mode without "Roll axis" for anamorphic, and probably the same for Yaw/Pitch axis.

Hallo Seb, a nice video of yours as always:) Did you use Cine V like you did on some of your GH4 videos? I think you always made that Gh4 sing.
In your Gh5 video the 30p and anamorphic is a funny combination:) I agree, the IBIS is funky looking. Seems like G85 before firmware update.

Hi Sebastian!
Thanks for the video. Downloaded it in 4k from Vimeo to see results more accurately. Looks good.
But that IBIS is definetly giving some bad effects for the censor. That is a thing I am a bit worried. Did you try to shoot also without IBIS and what focal length did you tell for the IBIS to use?
I haven't updated my GH4 to GH5 yet, but soon will. Anamorphic mode and how the GH5 handles it is my top priority thing.
Few questions:
1. I am quite sure it isn't possible... but is there any chance to shoot 4:3 aspect in slowmotion = anamoprhic slowmotion possiblity?
2. You didn't try to shoot in "anamorphic mode"? I understood that you shot in 6k photomode only? That would be in h.264 format and 10-bit, right?
3. There isn't desqueeze in camera, right?
 
GH4 still gives nice images and with external recorder + 10bit AND RIGHT GLASS it can still give really nice results. But still I am too sold over the GH5 can't resist
One of my Anamoprhic 4:3 videos with GH4+external recorder:
 

It looks amazing! Most of the time, you are right to say the stabilization is a little too much, maybe manually 35 \ 1.75 = 20mm would be better and avoid the little jumps and the vignette creeping in at random, I actually like a little vignetting in a shot but not being constant makes it distracting. How far away from the person in the shot do you have to be to a medium shot (waist to head) with your set up? 5 feet, 1.5m or so?
Your work is as hypnotic and engaging as always, keep it coming and thanks for it.

This is my first test of using the 6K 29,97p 3:2 ratio on the new GH5.
I'm happy with the results, please tell me what you think.
But I want to share my teething troubles working with the GH5.
1- The first question was which focal lens setting did I have to choose for the stabiliser. My prime lens is a 35mm, but did I have to include the 1,75x factor of the anamorphic, that is influencing only on the width ?
My first impression is that the internal stabiliser is not really the friend of anamorphic lens, some distortions or rolling shutter. There is some small moments in the movie that you can notice, but most of the strongest were unedited.
Because of the prime lens which is 35mm, and maybe the wildest I can use with my baby Hypergonar anamorphic lens, I had to zoom in the image sometimes, when it's in movement for example, to avoid moving vignetting in the frame. I did up to 17%.  
2- the H265 codec that is used for the 6K mode
I had problems editing the 6K mode video. I have Premiere CC2017, but even when it downloads the H265 / HEVC codec, I couldn't really import the original files. Some of them were working, but most of them had strange result on the timeline with green colors. And not to mention the lag with playing the video, on Premiere or VLC.
I test it on two different iMac, mine that is a end 2012 with 24 Go of RAM, and at the university that is a 5k iMac with 8 Go. 
So I transcoded the video with Handbrake, which surprisingly accept the 5184*3486 with H264 5.2 level. Then I decided to export directly in anamorphic without the black bars, in 5184*1976, then doing a same dimension sequence in Premiere.
Badfully I couldn't export the same dimension when I finished my edit on Premiere, so I did it in the maximum that my version of Premiere accept at my home : 4K (4096 maximum on the width).
When I will find the solution, I will export it in its original dimension 5184*1976.
Having troubles with a new camera and a "new codec" and new dimension "6k" is not new for me and I accept it I remember when a long time ago when I bought the GH1 I had to switch from Final Cut Pro 7 to Premiere to be able to edit the H264 clips directly on the timeline. 
Thanks for watching the movie and do not hesitate giving me your opinion and your experience with editing 6K material from this new beast named GH5 !
GH5 6K 5184*3486 3:2 29,97p export to 4k 29,97p anamorphic 4096*1560
prime lens : Qioptiq 35mm f1.6 wide open most of the time
anamorphic lens : baby Hypergonar 1.75x
focus module : SLR Magic Rangefinder Imperial
ND filters : Hoya 32x, 4x and 2x
slight black and white levels / no color correction
cropping due to vigneting of the anamorphic due to the stabiliser from 0 to 17%
Thanks to Virgil for his GH5

This is my first test of using the 6K 29,97p 3:2 ratio on the new GH5.
I'm happy with the results, please tell me what you think.
But I want to share my teething troubles working with the GH5.
1- The first question was which focal lens setting did I have to choose for the stabiliser. My prime lens is a 35mm, but did I have to include the 1,75x factor of the anamorphic, that is influencing only on the width ?
My first impression is that the internal stabiliser is not really the friend of anamorphic lens, some distortions or rolling shutter. There is some small moments in the movie that you can notice, but most of the strongest were unedited.
Because of the prime lens which is 35mm, and maybe the wildest I can use with my baby Hypergonar anamorphic lens, I had to zoom in the image sometimes, when it's in movement for example, to avoid moving vignetting in the frame. I did up to 17%.  
2- the H265 codec that is used for the 6K mode
I had problems editing the 6K mode video. I have Premiere CC2017, but even when it downloads the H265 / HEVC codec, I couldn't really import the original files. Some of them were working, but most of them had strange result on the timeline with green colors. And not to mention the lag with playing the video, on Premiere or VLC.
I test it on two different iMac, mine that is a end 2012 with 24 Go of RAM, and at the university that is a 5k iMac with 8 Go. 
So I transcoded the video with Handbrake, which surprisingly accept the 5184*3486 with H264 5.2 level. Then I decided to export directly in anamorphic without the black bars, in 5184*1976, then doing a same dimension sequence in Premiere.
Badfully I couldn't export the same dimension when I finished my edit on Premiere, so I did it in the maximum that my version of Premiere accept at my home : 4K (4096 maximum on the width).
When I will find the solution, I will export it in its original dimension 5184*1976.
Having troubles with a new camera and a "new codec" and new dimension "6k" is not new for me and I accept it I remember when a long time ago when I bought the GH1 I had to switch from Final Cut Pro 7 to Premiere to be able to edit the H264 clips directly on the timeline. 
Thanks for watching the movie and do not hesitate giving me your opinion and your experience with editing 6K material from this new beast named GH5 !
GH5 6K 5184*3486 3:2 29,97p export to 4k 29,97p anamorphic 4096*1560
prime lens : Qioptiq 35mm f1.6 wide open most of the time
anamorphic lens : baby Hypergonar 1.75x
focus module : SLR Magic Rangefinder Imperial
ND filters : Hoya 32x, 4x and 2x
slight black and white levels / no color correction
cropping due to vigneting of the anamorphic due to the stabiliser from 0 to 17%
Thanks to Virgil for his GH5

This is my first test of using the 6K 29,97p 3:2 ratio on the new GH5.
I'm happy with the results, please tell me what you think.
But I want to share my teething troubles working with the GH5.
1- The first question was which focal lens setting did I have to choose for the stabiliser. My prime lens is a 35mm, but did I have to include the 1,75x factor of the anamorphic, that is influencing only on the width ?
My first impression is that the internal stabiliser is not really the friend of anamorphic lens, some distortions or rolling shutter. There is some small moments in the movie that you can notice, but most of the strongest were unedited.
Because of the prime lens which is 35mm, and maybe the wildest I can use with my baby Hypergonar anamorphic lens, I had to zoom in the image sometimes, when it's in movement for example, to avoid moving vignetting in the frame. I did up to 17%.  
2- the H265 codec that is used for the 6K mode
I had problems editing the 6K mode video. I have Premiere CC2017, but even when it downloads the H265 / HEVC codec, I couldn't really import the original files. Some of them were working, but most of them had strange result on the timeline with green colors. And not to mention the lag with playing the video, on Premiere or VLC.
I test it on two different iMac, mine that is a end 2012 with 24 Go of RAM, and at the university that is a 5k iMac with 8 Go. 
So I transcoded the video with Handbrake, which surprisingly accept the 5184*3486 with H264 5.2 level. Then I decided to export directly in anamorphic without the black bars, in 5184*1976, then doing a same dimension sequence in Premiere.
Badfully I couldn't export the same dimension when I finished my edit on Premiere, so I did it in the maximum that my version of Premiere accept at my home : 4K (4096 maximum on the width).
When I will find the solution, I will export it in its original dimension 5184*1976.
Having troubles with a new camera and a "new codec" and new dimension "6k" is not new for me and I accept it I remember when a long time ago when I bought the GH1 I had to switch from Final Cut Pro 7 to Premiere to be able to edit the H264 clips directly on the timeline. 
Thanks for watching the movie and do not hesitate giving me your opinion and your experience with editing 6K material from this new beast named GH5 !
GH5 6K 5184*3486 3:2 29,97p export to 4k 29,97p anamorphic 4096*1560
prime lens : Qioptiq 35mm f1.6 wide open most of the time
anamorphic lens : baby Hypergonar 1.75x
focus module : SLR Magic Rangefinder Imperial
ND filters : Hoya 32x, 4x and 2x
slight black and white levels / no color correction
cropping due to vigneting of the anamorphic due to the stabiliser from 0 to 17%
Thanks to Virgil for his GH5

This is my first test of using the 6K 29,97p 3:2 ratio on the new GH5.
I'm happy with the results, please tell me what you think.
But I want to share my teething troubles working with the GH5.
1- The first question was which focal lens setting did I have to choose for the stabiliser. My prime lens is a 35mm, but did I have to include the 1,75x factor of the anamorphic, that is influencing only on the width ?
My first impression is that the internal stabiliser is not really the friend of anamorphic lens, some distortions or rolling shutter. There is some small moments in the movie that you can notice, but most of the strongest were unedited.
Because of the prime lens which is 35mm, and maybe the wildest I can use with my baby Hypergonar anamorphic lens, I had to zoom in the image sometimes, when it's in movement for example, to avoid moving vignetting in the frame. I did up to 17%.  
2- the H265 codec that is used for the 6K mode
I had problems editing the 6K mode video. I have Premiere CC2017, but even when it downloads the H265 / HEVC codec, I couldn't really import the original files. Some of them were working, but most of them had strange result on the timeline with green colors. And not to mention the lag with playing the video, on Premiere or VLC.
I test it on two different iMac, mine that is a end 2012 with 24 Go of RAM, and at the university that is a 5k iMac with 8 Go. 
So I transcoded the video with Handbrake, which surprisingly accept the 5184*3486 with H264 5.2 level. Then I decided to export directly in anamorphic without the black bars, in 5184*1976, then doing a same dimension sequence in Premiere.
Badfully I couldn't export the same dimension when I finished my edit on Premiere, so I did it in the maximum that my version of Premiere accept at my home : 4K (4096 maximum on the width).
When I will find the solution, I will export it in its original dimension 5184*1976.
Having troubles with a new camera and a "new codec" and new dimension "6k" is not new for me and I accept it I remember when a long time ago when I bought the GH1 I had to switch from Final Cut Pro 7 to Premiere to be able to edit the H264 clips directly on the timeline. 
Thanks for watching the movie and do not hesitate giving me your opinion and your experience with editing 6K material from this new beast named GH5 !
GH5 6K 5184*3486 3:2 29,97p export to 4k 29,97p anamorphic 4096*1560
prime lens : Qioptiq 35mm f1.6 wide open most of the time
anamorphic lens : baby Hypergonar 1.75x
focus module : SLR Magic Rangefinder Imperial
ND filters : Hoya 32x, 4x and 2x
slight black and white levels / no color correction
cropping due to vigneting of the anamorphic due to the stabiliser from 0 to 17%
Thanks to Virgil for his GH5

Here is some street videography taken in cinemascope with SLR Magic anamorphot 1.33x-40. As you can see rack focus works good and is easy to do. The combo with the prime lens is quite compact and lightweight.
GH4 slow motion mode 1080p
SLR Magic anamorphot 1.33x-40
on Pentax 40mm f2.8 at f4
Hoya ND filters
music : Superpitcher "People"
Lumetri (SL Bleu Intense (Universal)) + slight levels corrections
Thanks to Andrew Chan from SLR Magic, Emmanuel, Tchie-Kung and Nina
 

Here is some street videography taken in cinemascope with SLR Magic anamorphot 1.33x-40. As you can see rack focus works good and is easy to do. The combo with the prime lens is quite compact and lightweight.
GH4 slow motion mode 1080p
SLR Magic anamorphot 1.33x-40
on Pentax 40mm f2.8 at f4
Hoya ND filters
music : Superpitcher "People"
Lumetri (SL Bleu Intense (Universal)) + slight levels corrections
Thanks to Andrew Chan from SLR Magic, Emmanuel, Tchie-Kung and Nina
 

Filmed with Panasonic Lumix LX100 4k 25p 3:2
with my baby Hypergonar anamorphic lens 1.75x
and SLR Magic Rangefinder Imperial
with Hoya ND filters
no CC slights levels
Filmed in La Reunion Island and Maurice Island
end of january and beguan of february 2017

Here is some clips with the anamorphot SLR Magic, the one with the focus module Rangefinder integrated, on LX100
 

Here is some clips with the anamorphot SLR Magic, the one with the focus module Rangefinder integrated, on LX100
 

Here is some clips with the anamorphot SLR Magic, the one with the focus module Rangefinder integrated, on LX100
 

this app is a good idea, but maybe you can had the 1.75x option in the next version

oh yeah, simple as that, paying attention to the infinity symbol on the monitor!! silly me Thanks a lot, Seb!