Nikkor

Yeah there is nothing special about medium format. Please if you happen to own a hasselblad or phase one system, put it on sale on ebay. Hurry before people notice how overpriced they are. I will happily buy your gear from you because I'm a very kind and generous idiot.
I'm specially interested in outdated and primitve CCD backs like a IQ280 or a h5d60. 

Yeah there is nothing special about medium format. Please if you happen to own a hasselblad or phase one system, put it on sale on ebay. Hurry before people notice how overpriced they are. I will happily buy your gear from you because I'm a very kind and generous idiot.
I'm specially interested in outdated and primitve CCD backs like a IQ280 or a h5d60. 

They will have to make a correction video explaining why they are wrong. When people in the comment section know more than the guys writing the articles, maybe it's time to look for alternatives.

They will have to make a correction video explaining why they are wrong. When people in the comment section know more than the guys writing the articles, maybe it's time to look for alternatives.

The Fuji GFX 100S is like a medium format X-H1, with very capable filmmaking abilities. I had a hands-on at FotoMax in Berlin, to find out whether Sony should be worried.
https://www.eoshd.com/news/hands-on-with-the-fuji-gfx-100s/

So I have been in the photographic field since 1985. My work in shooting has been mostly still. My only experience with cinematography has been numerous cinematographers who shoot film for an art service I provide, in its 22nd year as a service. 
I am making a transition back to shooting after putting my cameras down in 98. I got the strange idea to use anamorphic lenses  for a shooting project by studying old projection lenses adapted for still shooting... So here I am. In all my years I had no notion of anamorphic [guess you can teach an old dog new tricks].
Scouring the web is how I ended up here. Thus far it has been trial and error. This project requires Sharpness!  The 1st lenses I bought were ISCO. 
To shorten the story, I picked up a RED ultra-star. My research indicated that this lens was the sharpest [Modern anamorphics are out of my price range]. 
My tests indicated a sharpness issue with this scope. Was it just like that? Image samples online indicated no, It was a tack sharp scope.
There was a post some years back on the KOWA and focus tweeking, but the ISCO red wasn't the same and I could find little info online to service these scopes. 
For normal cine use I suppose my scope was ok, it was just out of focus. This condition was bothersome for me. I could find no one to provide the information I needed to adjust this scope, nor could I find anyone to service it. 
After a few off the cuff replies, someone replied by email that the rear element might need adjusting, then went on to another discussion. I took this brief comment seriously, because I never heard it before. I am mechanically inclined, so I took the risk and dismantled the scope. The following is that adventure. My dangerous tinkering was successful and I post it here in case it helps someone else with the same problem - this info is not on this forum that I could find.

First I took the front focus ring off. It is held in my a few small screws in the focus tube. Be careful when you slide the tube off. There are a small springs and ball barrings. 
 

The focuser dial is held in by a large retaining ring with a set screw. The focuser ring screws down off one of the brass guide plates. NOTE - The focus issue was not in this location on this scope, but should one need to put new grease in you would simply unscrew where the small guide brass plates are.
I am fairly certain that  focus issues with this ISCO involves the rear element alignment. This was the case with my lens.

On the rear there are about 5 small set screws. Loosen them all up, but don't take them totally out [very small - easy to lose]. When loose the rear element holding dial becomes free. I discovered that this rear element is very critical in the focus, of not just this scope but likely most if not all scopes. The rear alignment is very critical for focus. [Ill assume that when manufactured this setting is dont on some fancy divise to set the focus.] 
At first I thought I might have ruined my lens until i realized that the placement was very crucial. Be sure you have a small screwdriver in hand with your camera on live-view, and make sure your adapter clamp is the kind you can slide the scope off easily.  With the rear element loose, move it very slightly. Put it on the taking lens w/live view. Taking it on and off moving it either direction until the sharpness is tack-on. Set the closest set screw when the live view is sharp. Remove the scope and tighten the other set screws - Reassemble the scope.

 
I hope this helps someone out.  Thanks for reading.  Dave Wood

I thought we were talking about closing down businesses and lock downs and mandating stay at home policies - which I do consider a form of slavery.
Who said anything about masks?

1,000/day relocating to Florida tells me that many are not embarrassed by Florida. 
I am saddened for the mental and emotional destructiveness the paranoia has caused. To me that's worse than the cause. Personally I would rather die free than survive as a slave. That's just me. I know many would disagree. 
Cheers. 

6000$ is the new 2500$. Central Banking doing it's job.

6000$ is the new 2500$. Central Banking doing it's job.

6000$ is the new 2500$. Central Banking doing it's job.

6000$ is the new 2500$. Central Banking doing it's job.

Remember the hype about the first Fullframe digital cameras? In 2004 you could buy a phase one p25 with a respectable 48x36sensor or leaf equivalents with colors that make canon cmos look amateur. The price difference wasn't that high in the beginning until the 5d came along, but if you compare the hype... 
Still today, if I have to choose shooting with a modern CMOS or an old MF I would only use the CMOS if I needed fast AF and/or Iso above 200. That's some value for a digital product.

6000$ is the new 2500$. Central Banking doing it's job.

For anything that demands high quality MF will be standard when cameras get good enough for video, the fuji is clearly almost there. This doesn't mean you can't shoot s35, m43 or FF, but when you want to go for the ultimate image it's the simplest thing to go with MF. If there were a 4x5 camera with good specs people would use that one for high quality. The larger the format, the larger the quaility, no matter how good your s35 lenses are they will never give the depth a large format camera can give.

I don't know if it is a 10-bit vs 8-bit thing, or an S-LOG vs V-LOG thing, or a Sony vs Panasonic thing, or it's a color-science thing, but I just don't get the same sort of weird colors in V-LOG on the S1 that I got in S-LOG 2 on the a6500.
I know a couple of the more notorious people on youtube have recommended workarounds for 8-bit Sony; dunna did it said just crank the saturation all the way up. Caleb (dslr video shooter) said to use the 709 matrix gamut instead of s-gamut

Intelligent ways to tonemap highdynamic range.

Given the recent article by @Andrew Reid I just spotted this vid and thought it may be of interest here:
 

Films that interest me have been rare latetly, I started to notice this specially since 2014.

Coming up. Had to get some lenses sorted. Cost me an arm and a leg.
Also had to work on the X-T4 review in the meantime, which took approximately 80,000 hours. Better be worth it. Sure I won't get a load of negative comments on it afterwards or anything.

Found some shots taken with this lens on a old CCD sensor. 48x36 crop
 

The gold isco is very sharp compared to the sankor.

Seppuku isn't a thing anymore?

Seppuku isn't a thing anymore?