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Tito Ferradans

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Everything posted by Tito Ferradans

  1. DAMN! This is actually much better! Hahahaha. I didn't remember this post at all, just writing about them in the blog. I guess Helsinki is a spam bot who recycles old posts to get engagement and force people to click in the random links embedded in the text.
  2. if you go to this link: http://www.tferradans.com/blog/?p=7260 You basically reworded everything I wrote with no new information. And if you're copying my info, you could've copied the conclusion too, sparing us from your spammy standard reply of "My issue has been solved". In case anyone else comes across this set IN BRAZIL: "Even defective, dark and questionable in terms of quality, these are already much superior to any projection lenses, mini-DV adapters, Iscoramas and even LOMO Squarefronts. Its quality is only matched by Roundfronts, but stil stays way back when compared to the anamorphics Hollywood uses nowadays."
  3. If you have a Tokina 0.4 that should help you, but you'll be coming from infinity to very close focus. It will kill bellows draw, but you'll be doing a lot of leg exercise moving from one place to the other to keep subjects in focus and finding your framing. That's beyond my comprehension. I never notice a difference in field of view when using diopters. But, when going up in strength so hardcore like a +10, it's hard to get ANYTHING in focus. A single focus solution is likely to work well, better than fixed diopters and bellows. The problem I can imagine is the size of your front element being bigger than the back of a single focus solution. Try SLR Magic's rangefinder, they are dirt cheap on B&H these days.
  4. I heard "diopters" and was summoned here. I personally haven't published much on how diopters work besides what's in my original guide - www.tferradans.com/anamorphic But I have a ton of research and drafts expanding on the subject. Most vari-str diopters (single focus solutions) act as a wide-angle adapter when close focused (Rectilux is 0.9x for example, I have notes on the others too, but not by memory), and regular diopters alter focal length a tiny little bit (you should disregard it). Here's a great article by Jay Holben on diopters - https://ascmag.com/blog/shot-craft/deep-focus-diopters and an instagram post by the author of the article, expanding on depth of field and the things it sounds like you're looking for:
  5. Hey @ken! I'm pretty sure these (as most 1.33x fixed focus lenses) are two cylinders. They might be tiny and close together. I had it for a brief while and the footage was indeed squeezed and there were flares. Saying there was oval bokeh was too much, because I don't even think GoPros can have bokeh. 😛
  6. Building a setup is a series of very personal choices. All we can do is provide you with useful info, and here's some! Go to youtube.com/tferradans and watch as many of them as you can. Then go to tferradans.com/anamorphic and read the guide. Finally, check your lens choices based on the calculator at anamorphic calculator.
  7. Yes. The thinner the better, until it becomes too thin and the flare disappears. hahahah
  8. I can cross being called "mighty" off my bucket list! Thanks @heart0less! The guide will be awesome, I'm just adding in the final images this week. As for the issue at hand, the fishing line indeed makes a cut through bokeh, but for a goPro it shouldn't be noticeable. The downside is that the gopro's lens is crazy wide and the fishing line technique doesn't usually play nice with wide angles. I can't think of much to do to make it flare more except working in post-production...
  9. Oh, very much. I've given up on gimbals altogether a few shoots ago. They always fail. And look mechanic. As for the weight, I'm pretty flimsy, so when I have my Iscorama rig up, (rails, follow focus, v-lock, evf, I'll already feel it at the end of the day. And I only shoot handheld.
  10. This image is the perfect example of why I don't like projection scopes. As for crop and FOV, you can always use the calculator. 😛 www.tferradans.com/anacalc/go
  11. Hey @Rikoshet The reason I don't love big anamorphics is because although they cost you less at first, in the long run you'll be wrecked by hauling them around. Plus support gear and stress on your taking lens and camera mount. They usually have far minimum focus (past 4m), and not necessarily go wider than their smaller counterparts. Flares are a different universe and I lack info on that from lack of experimentation. Good luck!
  12. why'd you copy my pinned thread?
  13. I don't like being unfriendly, but the anamorphic store is the pinnacle of everything that is wrong in the scope and diy world. I'd stay away from this dude for as long as possible. As for larger scopes, I've seen lots of good stuff coming from them, the issue is what kind of rig do you work with to support it.
  14. Heya! No, that won't work because optics don't work that way.
  15. nope. that's not how the optics work.
  16. The ratio is skewed. Hollywood held the vast majority of the anamorphic shooting. but the projectors needed the lenses for proper screening of the films. Since Hollywood exports American culture to the whole world, endless theaters had to have their projectors capable of anamorphic screening. This is a poorly written sentence. I just woke up. But you get the idea, right?
  17. Yeah, the flares are hardcore, but you can tone them down in post in a few seconds. As for price, the Compact goes for $500, while it's hard to find a good anamorphic under $350. In the end, it's personal taste/budget. I don't have any SLR Magic lenses at the moment, nor any 2x scopes, I only held onto an Iscorama pre36, because I don't want to deal with double focus/single focus attachments. 😛
  18. Yeah, the Sankor 16-D or Elmo I will vignette like crazy on a Helios 44 speedboosted to full frame. Go for an 85mm focal length if you want full sensor coverage, or pull up 4:3 crop marks and live with dark edges in the shot. Best bang for the buck though, in my opinion, is the SLR Magic Anamorphot 40-Compact. Cheap, available, flares, gives you a taste of what the real deal is, and will work fine with your Helios on full frame.
  19. what tweak said. More like a Sankor 16-D, since the Kowa 16-D is tiny.
  20. Hey Ian! That's awesome, man! (no surprise, I must say hahahaha) Could you estimate how much raw footage (in terms of time) you have, for cutting these 17 minutes?
  21. That is A LOT more manageable, not shooting full frame makes the experience way easier and enjoyable. 😛 As for the square fronts, I love the artifacts.
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