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Posts posted by DIGICHombre

  1. Beautiful copy of Kowa Prominar Anamorphic-35 1.5x. 

    Price: $1800
    Location: Northeast USA
    Payment: Paypal, Venmo, Zelle

    2.66:1 ratio.

    Very little internal dust. No scratches on glass. No fungus, or haze inside. Minimal exterior wear. Minor marks from mounting screws on outer barrel. Smooth focus.

    Bundle includes:
    custom front 77mm filter holder. 
    77mm to 72mm step down ring. 
    Tamron Close-Up Adaptor Lens for 28-200mm (72mm) total of 2 lenses.
    Rapido 15mm rod mount connects to rear of anamorphic. Height adjustable, and easily align lens orientation.

    Lens is dual focus - requires focusing of taking lens AND this lens. Minimum focus ~ 5 feet. Diopter lenses reduce minimum focusing distance.
    Blue flares. Sharp center. One of the best vintage anamorphic adapters I've owned. Used in controlled environments. 

    Video Samples:

    Sample 1

    Sample 2

    Sample 3
















  2. I have a voitlander 75mm f/1.8 that works very well with an anamorphic, specifically Kowa C-35. On full frame Sony A7 series there was no vignetting.

    The one big catch is this lens was meant for rangefinder cameras I believe, so slapping it on a foal reducer on a crop sensor effectively turns it into a macro lens, and quite unusable. Haven't yet tried on Canon, or any other body yet. All I know is it needs to get pretty close to the sensor. Great photo lens nonetheless.

  3. Takumar, Helios, vintage Nikon, Voigtlander owner here at one time. I would say that voigtlander and takumar give the cleanest look if you can call it that. Takumar you can generally find for cheap. Voigtlander is expensive but sells expensive so it's a wise investment. Helios you can find for dirt cheap, but the look is definitely subjective. The low contrast look combined with odd bokeh can be irritating, however the investment is usually low thanks to so many versions of this mass produced lens out there.

    Having owned a few of vintage lenses and anamorphics myself you really are going to sacrifice some sharpness, and chromatic aberration, for anamorphic widescreen, and stopping down is almost always necessary for a "cleaner" image. But thats why we crave these lenses.

  4. Thanks Mercer, this is all very helpful. It's good you know all of this, because it has been hell trying to find any information on it myself. 

    I'm basically attempting to track down compatible [and decently regarded] lenses on eBay using this list as a reference: 

    I started my research for lenses on Alan's site. The Kiev or Krasnogorsk mount lenses seem the most economical (aside from the fact that according to his articles mounts can be tricky and/or expensive in addition) as a kit. The widest lens of the kit the Mir-11mm some say vignettes too much, or is too soft/blurry/etc. Most likely I would just want the Vega 7 20mm. The long lens doesn't make sense because I have quite a collection of full frame lenses I could easily modify if I wanted the super tele focal length. But I've read mixed reviews of the Vega 7 so don't really know what to trust. I like lenses with some 'character' and won't mind a little imperfections here or there (as an owner of Helios, Super Tak, mamiya, kowa, voigtlander lenses I understand vintage) but can't tell if the Kievs are just junk or pleasing/forgiving junk. 

    I've seen a fair amount of decent examples of Schneider Kreuznach Cinegons but there seems to be a whole lot of different types, either old or new in C mount or Arriflex. 

    Then there's a really sweet couple of Cooke Kinetal's a (17.5mm and 25mm) which look drop dead gorgeous, but the price of the lens, and the arriflex std mount is painful.

    I also looked at a Cosmicar/Taylor Hobson 25mm C mount, which looks (from the outside) almost exactly like a more expensive Angenieux. And most recently found these purportedly "very rare" cine nikkors which sound too good to almost be true and get mostly positive reviews of the few I've found.

    My main problem is I want to experiment with this BMMCC without having to re-stock a full set of lenses. Ideally a semi-wide and a normal 50ish equivalent. 

    I toyed with speedboosters but, again, $$$ for the legit .58x version and even then, a significant crop. Cheaper chinese .71x versions just don't seem worth it. Vintage & inexpensive super wide angle s35/FF lenses are few and far between. 

    I ALSO have a Kowa 1.5x anamorphic I want to use on this camera, which is another consideration when purchasing focal lengths for this camera. The widest taking lens I can go on a FF is 58mm + vignette, ideally 75mm + no vignette. So if my math is correct I'd need a 25mm super 16 lens at the minimum to pair with the anamorphic (due to the 2.88x crop factor). I'm hypothesizing here because, as far as I can tell, no public examples exist, and I don't yet have the camera to play around.

    Out of curiosity 2 questions: How did you like the BMMCC? I know it's a pain in the ass from the get go, ie the buttons, menu, iso, etc. etc. But worth the 13 stops dynamic range, 4:2:2 color space, Raw DNG? 

    Got links to those Angenieux lenses you're selling? 

  5. 2 minutes ago, keessie65 said:

    Thank you! Then I am interested what other lens are you using. I am looking for a high quality 35-40mm lens. 

    Honestly I don't have enough information to make that recommendation. I am unfamiliar with the Bolex 16/32. I'm not sure what sensor size your camera is. If it's an APS-C then you might be able to get away with 40mm.

  6. Hello,

    I have this exact Voigtlander 40mm Ultron, and have used it with anamorphic adapters. First, the lens is amazing by itself. One of my favorites. 

    With anamorphics, in my experience, I haven't found it vignette free, if you're shooting on a full frame sensor. Anything smaller and you have a bit more flexibility but I've used SLR Magic Anamorphot and Kowa adapters and they both showed obvious corner darkness.

  7. Hi,

    Never owned this, but did own the smaller 8/16/1.5x for a short time and based on that and owning a couple different ones tooI can say with reasonable certainty that:

    Since you're already getting vignetting at 50mm on a full frame sensor, I doubt very highly you can go wider and not see more vignetting. Unless you figure out a way to mash the back of the Bolex to the very front of the taking lens in your clamp configuration, then it's possible, but I seriously doubt it.

    All of these vintage lenses increase the minimum focusing distance. Just the nature of it. Some ways to get around include adding diopters to the front of the anamorphot. They can get you to focus closer, however you won't be able to focus beyond a certain point with it on. Do some research. 

  8. Toss in my .02 if external recording is not a necessity for you iKan makes a 5" model that is just a monitor for $400. It's 1080x1920 and surprisingly sharp, light, and runs on either sony or canon batteries. I also have used the Aputure VS-2 FineHD 7" and like that as well for $279. Personally I would probably get the VS-1 b/c they're both 1080x1920 HD however the included accessories in the VS-2 are really not worth it. The sony battery doesn't last very long, and I have found the screen slightly less sharp than the ikan, or harder to nail focus using the screen itself and Aputure focus assist. The HDMI cable is also a behemoth! Get VS-1 for $200 and buy your own battery/cables. 

    Lastly, 7" and 5" is not really from corner to corner that actual measurement on either of these monitors. There is a little screen edge so viewable screen estate is not as large as advertised. Still these monitors are fantastic for full HD mode and beats the back of the camera LCD.

  9. From my EBAY LISTING:

    Next to new condition. Used gently on a handful of projects in between clean storage and frequent air dusting. I bought this right after it came out on B&H Photo. Marvelous piece of gear. MUCH easier to use than vintage projector lenses and half-assed clamps (coming from a previous Vid-Atlantic + anamorphic owner). The taking lens facing side is 62mm filter threading. Front allows 77mm filters. Includes three step-down rings to allow you to mount the anamorphot on lenses with a 49mm, 52mm, or 58mm front thread. Included Diopters allow focus closer than 1 meter. Diopters and rings come in their own cases. US Buyers & PayPal ONLY. THANKS

    General Thoughts

    • No vignetting on Full Frame as wide as 40mm.
    • Would not recommend using with widest aperture because, like it or not, adding more glass in front of your lens does affect the overall quality. Depends entirely on taking lens.
    • I’ve used this with old vintage Helios, Contax, Voigtlander, Zeiss Jena 40mm, 50mm, and 55mm taking lenses (Full Frame).
    • Picture quality is a bit soft on lenses higher than 85mm (Full Frame). Had to stop down to at least 5.6 or higher.
    • 1.33x squeeze is manageable but not the most anamorphic looking out there. Personally prefer sweet spot at 1.5x.
    • Flares are mostly bluish, not strongly organic. Look is more clinical than old school.
    • No silver bullet for amazing looking Blade Runner, Die Hard, etc. footage. Have patience, experiment, fail, try again...

    Suggested Taking Lens Based on Sensor Size

    • 17-85mm focal length can be used for S16 sensor.
    • 20-85mm focal length can be used for MFT sensor.
    • 35-85mm focal length can be used for S35 and APS-C sensor.
    • 40-85mm focal length can be used for Full Frame sensor.

    Note: These are recommendations only, and you should make your own judgement about what lens to use based on your observation and experience.

    Recommended Maximum Aperture Values

    • f/2.8 for 20 to 50mm focal lengths
    • f/4.0 for 55 to 85mm focal lengths
    • f/5.6 for 90 to 135mm focal lengths









  10. From SLR Magic: http://www.slrmagic.co.uk/amfilerating/file/download/file_id/1/



    Several methods exist for un-squeezing and working with 
    anamorphic footage in your editor or effects software. You could specify a project resolution of 
    2554x1080 and scale your footage to match the project's width (footage must be shot in 16:9 
    ratio). Or, if you're primarily interested in uploading to the web you could instead specify a 
    project resolution of 1920x812 and scale your footage to match the project's height (footage 
    must be shot in 16:9 ratio). 
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