Chris Elkerton

it has been designed around the best optics i have cooke speed panchro,leica noctilux,nikon noct imaging onto a 5d sensor size.
i took the best designs i could find realised most achromats are design for long and zoom lens so started from scratch again.
so although the tokina is the best of it's type in terms of light ray path my new ones have better correction hitting the film plane.
the quality of my glass is better and more exotic than the tokina and fully configured for the job.

no price at the moment but you can test it when i get time to machine a mount for it : )

ever wondered what leica or cooke taylor hobson could do if they made something like the tokina achromatic diopter.
 
well in about 3 weeks i should have the finest close up ever.
82mm doublet +0.25 classic single coated optics using ohara and schott germany glass.
way superior than the tokina +0.4 optimised for 5d size sensor using iscorama,cooke speed panchro and leica r as the set up.
this close up will be a fine match for the finest most expensive high end new or old optics.
 
 
anyone who thinks these new generation anamorphics from letus and slr magic will not need a double element close optics is clearly not very sharp : )
a simple test on those 2 new china lens shot at f1.8 or even f2.8  with an achromatic doublet and without should make things clear.
these new anamorphics are single element  optics just like the century and the panasonic optics.
maybe revised and improved  but still single element..
sometin got a give somewhere in the system.
 
as we all understand stopping optics down to f4-5.6 clears up the image and makes even poor optics look sweet.
achromatic correction is kind of cool and if you like the new anamorphic lens concepts coming sticking a decent bit of double element glass in front of bad single element can only help A
3 cheers for Chester Moore Hall the man that came up with the concept of bending light ray achromatic correction.

Rich, when I originally read the ASC Magazine article on Killing Them Softly I thought immediately of the FF58 when the article gets to the discussion of their acquiring Panavision's HS50, that special lens that was used for some of the extremely dreamy segments.  It's shown to its greatest effect in that sublime slow-motion shot of Brad Pitt walking through the street with all the fireworks and sparklers going off.
 

 
http://www.theasc.com/ac_magazine/October2012/KillingThemSoftly/page1.php
 
...I'm re-reading it and it made me think of this topic (since you didn't chime in on the other topic here related to the film) that in addition to modifying the optics to exaggerate the background falloff they purposely exaggerated the extremity of its elongated bokeh.  Neat.  

Hey Sean,

Yes I loved the soft look I was getting from the adapter and just ran with it. I think everyone gets bogged down in sharpness and tests. Sometimes we should learn to love the imperfections.
Don't get me wrong I wouldn't be shooting something soft for a corporate video, but for this I think it adds so much.

The taking lenses were a Canon 50mm f1.4 and my Jupiter 85mm f2.

Thanks for the feedback mate.

Hi,
 
I had such a good response last time I thought I would post my latest music video shot using an Optex anamorphic adapter.
 
https://vimeo.com/74284254
 
Shot on a Red One mostly in 2k crop mode 96fps I wanted to replicate the look of 16mm film. I love shooting in raw, it gave me lots of flexibility in post, using LUTs to get some really filmic colours.
Would be cool to get some feed back from some fellow anamorphic lovers.
 
Cheers,
 
Chris.

Some nice stuff in there.  I think this is the first time I've seen anything shot on these adapters at more than 1080P.  Very cool.  I imagine the softness of the adapter helped with the look.  More and more I'm reading about DPs purposely choosing soft lenses when shooting digital because digi lenses are just too sharp and clinical.
 
What were your taking lenses?

Thanks for watching!
 
I tend to shoot with what are refered to as the "broken ISO's" in low light. For example 160,320,640 etc. I find that you get less noise on the 5D II this way. I did do a bit of noise reduction and levels boosting in After Effects on some shots though. But shooting at 640 ISO it wasnt really too bad.
As for the deep depth of field shots; these were created by increasing the distance between the camera and subject rather than stopping the lens down too much. (therefore not having to ramp the ISO up too high) I cant remember the exact settings but I would guess around f2.8 maybe f3.2 at a push.
 
You will get vignetting using this set-up, it becomes more noticable the more you stop the lens down. I found better results (much less vignetting) using my Kowa 8Z with the Jupiter. Wide open on the Sankor its not too bad, but anything past f8 ish and its pretty unusable.

Thanks for comment Luke.
The only shot that was stablished was the opening shot which was shot from a taxi and was all over the place. The rest was just as shot. I just used the old strap round the neck trick. I had also had a few beers, maybe that's the secret!?

The mix of colors in there is just wonderful.  I love it!

Hi,
 
I just wanted to share my first video shot with an anamorphic adapter.
 
https://vimeo.com/65235134
 
This was an unplanned shoot which turned into a music video for a good friend of mine.
Shot on a 5D mark ii with a Sankor 16-C and a jupiter 85mm taking lens. All hand held with no rig (told you it was unplanned) I wish I had more lenses and a stabiser of some sort but thats how it goes. The content was pretty cool so I thought it needed to be cut together. Sometimes the best things to shoot happen when you least expect it!
 
Cheers,
 
Chris.
 

very cool. Did you stabilize in post? looks not too shaky for handheld!