Tito Ferradans

Just received my HTN ring v2 for the Kowa 16H and can confirm it is the best way to attach the rectilux.
Rock solid and zero extra vignetting
Thanks to HuuTuan from Vietnam for his product and service and @Tito Ferradans for the advice. 

Long story short. Stay with the original ISCO if you plan to do a simple V1 modification. 
The close focus distance is the same as if you mod it by yourself.
The additional weight is a problem if you gonna try to screw it in front of a plastic Nikon pancake. You shouldn't trust that tiny lens to hold a heavy lens like the V1 will be.
So you will need a lens support.
The V1 does not vignette more than with the original design within the SAME focus range. The distances are the same. But if the front stays 72mm it will vignette at the new and closer close focus, because of the small front element that comes out further than on the original ISCO.
That's why i asked Christopher at VD to make a 77mm front to get a little less vignetting on the 50 pancake. So, it works.
And sometimes you want to slide the rear element into the front of a taking lens and stay more flexible in the selection of the lenses. That was the V1+ mod (77mm front and no screw-in rear element)
Yes, i did them all and even more. 
DIY mod, VD-V1, V1+, V2, V2+

The V2 is worth it. 77mm non rotating front, 85mm close focus! But at that prize … Sometimes I wish I had stayed with the original ISCO. Screw it on and ready to go.
But for serious tasks (first AC, FF motor, …) you'll need that rehousing. But for that prize you can rent everything without headache … It's like a dog chasing his tail – eternally … ?

 

This LA7200 is over $500 above the average asking price on eBay.
You'll have better luck selling your anamorphics on this forum if your price is realistic. The same for your Rectilux.

I do!  I will be selling it as soon as I finish building the website (which is taking a little longer than I hoped).  Some key differences between my design and the other guy's version:
Mine isn't made from ridiculous red 3D-printed plastic.  The housing is made from anodized black 6061 machined aluminum that I had commissioned. I disassembled, degreased, and re-greased the helicoid with superior lubricant. My mod includes my custom-built dual-bracket 15mm rail support clamp. My mod doesn't require re-alignment when switching lenses. I don't cut corners or try to hide anything. I make no secret that this mod wouldn't have been possible without the help from the good people on the EOSHD forums.  I make no secret that you can build this mod yourself (you can read my development thread here). My mod is a turnkey solution - it doesn't require an overpriced, threadless 3D-printed lens clamp. My mod will be selling for less than his.  Side note: Like Carlo, I've also found John Barlow (Rectilux) very helpful and quick to respond.

i finally got a hold of a minolta 100-500 and compared directly it to my tokina 0.4.  setup was a gh4/contax zeiss 50mm @ f2.8/iscorama 36.  
tokina focus range: 3.8' to 8.9' (measured to the diopter)
minolta focus range: 4' to 10.5' (measured to the diopter)
field of view (at the same distance): minolta was about 1-2 degrees wider than the tokina. 
sharpness/overall image quality: identical
i was surpised that the tokina was able to focus that far out (seems like mine is closer to .37 than .40).  i was also surprised the minolta was able to stay sharp all the way down to 4'. 
so the minolta gives you another 1.5' of range at the far end, a slightly wider FOV (which is always handy), and you only lose a couple inches on the close end.  all things considered, i think i might be selling my tokina at some point.
 
 
 

Adding oval discs to anywhere other than at a lens at aperture location will introduce considerable light loss and added vignette. Solution is to locate oval aperture directly - or at the closest point to aperture level (as mentioned by whoisjsd). Easiest and cheapest is to modify a Helios 44 lens this way, and to use that as your taking lens. See diagram below to see highlighted area for proper oval aperture placement in Helios 44 (or any similar Double-Gauss lens design):

 
With an oval aperture correctly installed and orientated, the effect is increased oval bokeh on a 1.33x anamorphot, and a sharpening effect due to the taking lens effectively being stopped down on the horizontal axis (yet maintaining near full height aperture). Here is a crappy sample of my 1.33x Century with Helios 44 with oval aperture installed...ignore the softness of the image, the proximity of the subjects was too close for sharp focus...but you can clearly see the improvement in bokeh definition:
 

Split diopters are tricky to find in smaller sizes, I noticed. So I cut my own. You can follow my steps here: https://www.youtube.com/watch?v=WNNHJowFN54
The schneider ones on eBay are like $300/each, right? I don't think they're worth this much, plus how are you mounting that size of glass in front of a Bolex 16/32? I also never heard of achromatic split fields...
As for century and slr magic achromats, yes, they're pretty great, just a little thick.

Hi, just put it up on Ebay.
Kowa 8z, 3D Clamp from Tito, lock ring, front and rear caps.
Rear lens has a little scratch, no fungus or cleaning marks.
http://www.ebay.de/itm/Kowa-Prominar-8z-anamorphic-cinemascope-lens-with-clamp/132417863185
 

I was lucky enough to grab a Proxiscope from Max as soon as it became available...he had previously sent me his prototype to do a test fitting on my DIY close focus modded pre-36 iscorama. Here follows my review after using it for a few weeks...
Full Disclosure:
Although I was graciously approached by max to test out his prototype, I did not take up on the kind offer of a discount in the purchase price of the final housing. This was due to me wanting to give an honest review, as well as back someone who was going to add a great partial rehousing option to those with iscorama 36 lenses. Therefore my review is from the perspective of a regular customer.
I am very happy to report that the Proxiscope housing works flawlessly, not only with MC and pre-36 models- but with lenses that have already been DIY modified (cutting/ shaving stopper and body to allow grub screw stopper to be inserted for new stop etc). This is possible due to the proxiscope locking metal collar that completely bypasses the original plastic section and the front section having an integrated relocated metal stopper. The ingenious design allows the new front to enable the same close-focus ability as the DIY mod, but in a MUCH more elegant and reassuring way. No longer is the fear that the grub screw will work loose and let the rama front go smashing to the ground for example. The integrated focus gear to the design is much better than any third-party gear ring, as those never quite conform properly to the isco's tapered front.
The anodised finish of the Proxiscope is very complimentary to the original isco design as it does not spoil the classic look with obnoxious bulges or with added weight that then restricts it to rail mounting. Focus markings are clear and are denoted in meters, I think feet measurements are also an option. The Proxiscope comes in a nice wooden box, with all the tools needed to install, with easy to follow video instructions to be found on YouTube. Installation takes about 4 mins and can be 100% reversible to original factory condition.
In a world where everyone wants something for free, some may question the price. These people need to take just a second to consider the design time, R&D testing and small-run costs of getting anything of quality made these days. Also the fact that the current cost of a Tokina +0.4 combined with a decent focus gear will run you a comparable amount - without actually giving you the benefit of an 'in-body' solution that the Proxiscope does...Oh, and it's under half the price of the cheapest VD rehousing mod (that you have to wait 90 days+ for!).
So, all in all...a very impressive product that massively improves the practicality of using iscorama 36 lens types for modern film making whilst still maintaining the isco's classic look and light weight. Rehousing is solidly built with clear instructions for installation. Fully compatible with 'factory' iscorama 36 lens types...as well as those with previous DIY close-focus modded lenses.
 
 
(pic below shows slim UV filter attached - not part of Proxiscope)

Today's most frequent search on eBay: "Kalee Anamorphic"
Awesome stuff, Justin!

Hello everyone, let me tell you the story of how I got the cheapest single focus solution. And how it compares to the Rectilux HCDNA (results a the end of the post)
Last month, I found this anamorphic adapter on ebay :

It was cheap, and looked like a weird anamorphic projection lens using prisms. So I bought it (Gear Acquisition Syndrome :D).
Then I took it apart to clean it, and noticed it consisted of two prisms (for the anamorphic part) and some kind of focussing solution in the front.

So I 3D printed an adapter for it (around 5GBP printed at a local shop) and tried it. And of course it confirmed to be a single focus solution !
So I had to test it ! Here are the results compared to the hardcore DNA :
Taking lens : Super Takumar MC 105mm f/2.8
Camera : Canon 50D
Anamorphic lens : Schneider Cinelux
Single Focus Solution : Rectilux HCDNA vs GB-Kalee Small Anamorphic (front part)
(Same grade applied to all shots)

Here is a picture of the setup :
 
Of course, the GB-Kalee is less convenient : 
- Minimum focus distance around 1.8m
- Smaller element diameter (would work better with smaller anamorphic)
- More difficult to focus (as my copy of this adapter is quite beaten up)
- Needs a mounting solution for both back and front as there is no filters. (But the HCDNA is similar here are the threads are not standard size)
So, What do you think ? 
I personally think this GB-Kalee needs a rehousing !

Ampliscope Hypergonar with a single focus adapter, Belomo Vega enlarger as taking lens with an heliopan VND on 5D3 with ML.An improvised test to share with you the character of this anamorphic lens as I haven't found much on internet, forgive the wrong camera frames and shaky movements as the missed focus.
 

@Bold, tito, nickgorey, nahua, richg101, quickhitrecord and everyone else in this thread; great work! Thanks for sharing so much info from all your work on this lens. I recently decided to dive into anamorphic shooting and this thread was invaluable.

My setup is typical:
GH5
Taking lens (Helios 44 58mm/Minolta 55mm/Fujinon 55mm)
B&H with Redstan clamp

Here's the setup, showing the lenses mounted on some rails; taking a cue from Bold (well, more than just one), I've used some telescope guide rails attached to a smallrig clamp. But I think I prefer using the standard smallrig V-shaped lens support you can see in the image. This is because I'm actually finding this setup to be dual focus; that is, I can't get anything in focus with the taking lens set to infinity, I have to keep it around 1.5-2m and work the B&H focus from there. I know it's supposed to be single focus, so I'm not sure why this is the case or if there is something wrong with my B&H (it's pretty beat up, as you can see). As such, the B&H moves forward and back as I adjust the focus on the taking lens.



Anyway, here are the first couple shots I've taken with this setup. All are with the Helios 44, except the Kodak camera shot, which was taken with the Minolta. I plan to do some more comparative tests with different taking lenses soon.

Here's some tips, based on my experience with the sharpness tweak:
I'm not sure if this is the case with every lens, but with mine, it was possible to adjust the sharpness without even removing the brass tabs.
Just by loosening all 6 screws, but leaving the tabs in place, it created enough rotational play in the front optic for me to fine-tune the sharpness. This is because the holes in the brass tabs are ever so slightly bigger than the screws, so you have a little room for rotation.  For me it was just enough. 
Once you find the sweet spot, simply re-tighten the screws.  No glue needed.  Be careful that the act of re-tightneing the screws doesn't nudge the optic. This took me a little while to get right.  Once everything is tight, check the image again to make sure it's still sharp.
As Tito says in his video, it's easiest to judge the sharpness using a long lens at (or near) infinity, and stopped down to 4 or 5.6.  In my case,  I could never get a sharp image with the Kowa and taking lens at infinity.  I had to focus both lenses slightly less than infinity to get a super sharp image. 
This is very important, especially if you are using a single-focus solution.  Don't blindly trust the infinity marks on your Kowa or your taking lens.  You might be able to get a MUCH sharper image by adjusting them slightly under infinity.  I'm sure this will vary from lens to lens.
Hopefully this helps!
 

all of them. hahahaha. everything you have!

Hahaha, it's a valid question I think!
I would still stick with Pre-36 or original Iscorama - since that's what they were, by coming attached to an infinity-fixed 50mm (various mounts) -, the anamorphic attachment was labeled purely "Iscorama", and the differences between the original one and the 36 are tiny.
I would love to hear other people's opinions as well, though! :D

wasn't that what he just implied?

Damn! I just remembered this thread, and I've posted a decent number of videos since the last update! hahaha
ANAMORPHIC COOKBOOK - A CRY FOR HELP
http://www.tferradans.com/blog/?p=8752
ANAMORPHIC ON A BUDGET - SINGLE FOCUS SHOOTOUT
http://www.tferradans.com/blog/?p=9496
ANAMORPHIC CHOP SHOP - ANAMORPHIC MUMPS CORRECTOR
http://www.tferradans.com/blog/?p=13852
ANAMORPHIC COOKBOOK - UPCOMING, 2017
http://www.tferradans.com/blog/?p=13941
ANAMORPHIC ON A BUDGET - CINEMORPH SIGMA 18-35MM F/1.8 ART
http://www.tferradans.com/blog/?p=13960
ANAMORPHIC ON A BUDGET - CINEMORPH FILTERS
http://www.tferradans.com/blog/?p=13998
ANAMORPHIC ON A BUDGET - SLR MAGIC ANAMORPHOT 1.33X-40
http://www.tferradans.com/blog/?p=13954
ANAMORPHIC CHOP SHOP - SLR MAGIC FLARE FIX
http://www.tferradans.com/blog/?p=14073
ANAMORPHIC CHOP SHOP - ANAMORPHIC AND DAVINCI RESOLVE
http://www.tferradans.com/blog/?p=14107
ANAMORPHIC ON A BUDGET - KOWA 8-Z
http://www.tferradans.com/blog/?p=13963
ANAMORPHIC ON A BUDGET - SANKOR 16-D
http://www.tferradans.com/blog/?p=13962
ANAMORPHIC ON A BUDGET - ISCO ULTRA STAR
http://www.tferradans.com/blog/?p=14072
ANAMORPHIC ON A BUDGET - SINGLE FOCUS SHOOTOUT "HELD"
http://www.tferradans.com/blog/?p=14158
ANAMORPHIC COOKBOOK - WE'RE BACK ON A BUDGET!
http://www.tferradans.com/blog/?p=14179
ANAMORPHIC ON A BUDGET - LETUS ANAMORPHX-GP 1.33X
http://www.tferradans.com/blog/?p=13953
ANAMORPHIC CHOP SHOP - INSTALLING THE LETUS ANAMORPHX-GP
http://www.tferradans.com/blog/?p=13958
 
And, on the side, I had a few narrative projects that I posted about, in case anyone is interested in the stuff I do besides the reviews!
OVERNIGHT - PRODUCTION OVERVIEW
http://www.tferradans.com/blog/?p=14090
OVERNIGHT - PRODUCTION UPDATE
http://www.tferradans.com/blog/?p=14106
UP & AWAY - INDIEGOGO CAMPAIGN
 

Damn! I just remembered this thread, and I've posted a decent number of videos since the last update! hahaha
ANAMORPHIC COOKBOOK - A CRY FOR HELP
http://www.tferradans.com/blog/?p=8752
ANAMORPHIC ON A BUDGET - SINGLE FOCUS SHOOTOUT
http://www.tferradans.com/blog/?p=9496
ANAMORPHIC CHOP SHOP - ANAMORPHIC MUMPS CORRECTOR
http://www.tferradans.com/blog/?p=13852
ANAMORPHIC COOKBOOK - UPCOMING, 2017
http://www.tferradans.com/blog/?p=13941
ANAMORPHIC ON A BUDGET - CINEMORPH SIGMA 18-35MM F/1.8 ART
http://www.tferradans.com/blog/?p=13960
ANAMORPHIC ON A BUDGET - CINEMORPH FILTERS
http://www.tferradans.com/blog/?p=13998
ANAMORPHIC ON A BUDGET - SLR MAGIC ANAMORPHOT 1.33X-40
http://www.tferradans.com/blog/?p=13954
ANAMORPHIC CHOP SHOP - SLR MAGIC FLARE FIX
http://www.tferradans.com/blog/?p=14073
ANAMORPHIC CHOP SHOP - ANAMORPHIC AND DAVINCI RESOLVE
http://www.tferradans.com/blog/?p=14107
ANAMORPHIC ON A BUDGET - KOWA 8-Z
http://www.tferradans.com/blog/?p=13963
ANAMORPHIC ON A BUDGET - SANKOR 16-D
http://www.tferradans.com/blog/?p=13962
ANAMORPHIC ON A BUDGET - ISCO ULTRA STAR
http://www.tferradans.com/blog/?p=14072
ANAMORPHIC ON A BUDGET - SINGLE FOCUS SHOOTOUT "HELD"
http://www.tferradans.com/blog/?p=14158
ANAMORPHIC COOKBOOK - WE'RE BACK ON A BUDGET!
http://www.tferradans.com/blog/?p=14179
ANAMORPHIC ON A BUDGET - LETUS ANAMORPHX-GP 1.33X
http://www.tferradans.com/blog/?p=13953
ANAMORPHIC CHOP SHOP - INSTALLING THE LETUS ANAMORPHX-GP
http://www.tferradans.com/blog/?p=13958
 
And, on the side, I had a few narrative projects that I posted about, in case anyone is interested in the stuff I do besides the reviews!
OVERNIGHT - PRODUCTION OVERVIEW
http://www.tferradans.com/blog/?p=14090
OVERNIGHT - PRODUCTION UPDATE
http://www.tferradans.com/blog/?p=14106
UP & AWAY - INDIEGOGO CAMPAIGN
 

arriscope are movie lens
iscorama is not
arriflex  and zeiss where pretty crap at anamorphics  for years zeiss  used moller for making anamorphic projection optics
 arrii used a famous super talented designer from denmark jan jacobson for ultrascope system using fast zeiss optics ultrascope where designed as  movie optics
later arri used a couple of folks from zeiss and isco for the arriscope
arri is a massive rental house and maker of millions of metal  parts plus thousands of cameras  they had to work faster than say leica or zeiss.
a movie might be starting in 6 months 10 months sometimes 3 months
so they had to cut corners because of  time issues
isco understand bent glass many issues where engineering related
but like the todays crummy iomo systems modern rebuilds can transform everything
the arri isco  glass is  designed movie glass vintage used on many cinema releases
iscorama maybe amazing and unmatched even today in the sub 10 thousand dollar realm but is was never designed as a  proper movie lens.
it was used on movies like the battle of britain for crash cams and aerial work but kowa 8z was used on crash cameras on many movies in the 1980s even movies like rambo  where he takes on the russians. better blowing up a kowa than a panavision,jdc or technovision 40 thousand dollar optic.
 
iscorama was not used or improved for movie  productions because the movie industry is a tight nit thing probably isco did not think to bribe the correct rabbi in hollyweird at this stage panavision dominated
arriscope ultascope have expensive 1.4 or 1.7 movie optics inside which are worth money alone.
you could use a proskar on a movie today it would not make it a movie lens.
 iscorama is such an abused term now every turd is iscorama
 
vintage anamorphics suffer from imperfect engineering assemblies and even more so, bad strip down and reassembly over the years
arri isco and zeiss the weak link will be arri engineering  instead of leaving that to moller or isco arri built  assembled themselves.
arri camera engineering is superb but you cannot rush  without losing something
as i said arri had very little experience in anamorphot area even though they made test  lens with zeiss isco in the 1950s  always sub contract
arriscope is rare ish as is ultrascope
isco getting a little with all the hipsters dropping them on the floor
 
some of the arriscope ended up in india then faded away rarely rebuilt  the glass is good that is what matters.
a man wanting an easy life will look for an iscorama or the cheaper options
a man with spunk will grab some movie arri optics
 
the new zeiss anamorphics are probably the bigeest leap forward in design since chretien as close to state of the art as it gets  today
vantage hawk are hiring out sets of fake vintage optics which is the opposite of what zeiss is doing hawk are building in the error from the past and charging serious big bucks for a rental
 
 
 
zeiss
arriscope is worth a lot  more than iscorama
i would think a little finger for iscorama
a kidney for the arri
 
 

You should start by @Tito Ferradans 's single focus shootout video for the best single focus comparison ever ! 
 

Thanks @Timotheus!
Acetone (and cheap follow focus gear) did the job!!
Red glue is a kind of screw lock and seal.
Nice "DIY" Ferradans style!


 

If you get a cheap 95mm UV and knock out the glass, that has male 95mm threads and costs very little.

If you get a cheap 95mm UV and knock out the glass, that has male 95mm threads and costs very little.

80mm in full frame when shooting 16:9 sounds quite wide already  
You can use @Tito Ferradans's calculator here http://www.tferradans.com/blog/?p=13386 to check your possibilities