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Everything posted by ergopossum

  1. Shot a teaser for a feature film I'm developing recently. It's shot mostly on the NEX-5n with a Bolex Moller 16/32/1.5x, we used the t3i for a few shots here and there.   I'm relatively new to anamorphic, but I've been impressed by how much it affects the look of the footage. Looking forward to shooting a feature in the format, on a proper cinema camera. The taking lenses were old Nikkor primes.   Feedback welcome!   http://www.youtube.com/watch?v=sgqLqHZk3-A
  2. Are you saying that the ring will make it so snug that it will stay in place wherever I screw it to? (IE even if the lens is refocused)
  3. The Z distance is about 3.2 millimeters when the anamorphic is aligned to one of my taking lenses. However, it's only about 2.9 millimeters even when I tighten the ring all the way so it's completely misaligned. The entire filter thread is rather shallow. So if I'm understanding correctly the rings wouldn't have enough precision to differentiate between 3.2 mm and 2.9?
  4. Thanks. Have you had success with a similar method? The problem I'm thinking about here is that the rings are all 2mm wide, and the alignment would probably have to be precise to a smaller degree than that from what I'm seeing.
  5. It appears that ebay only has one listing of rings with a 37mm inner diameter, and all the rings in that listing have the same thickness. For this to work, I'd need something a lot more specific than that, right?
  6. That's a very creative solution! Have you done something similar? I'm not finding a place online to get these nitrile rings to such specific specifications (seems like it'd be fractions of a millimeter in thickness if I understand correctly) and there's also the consideration that I need to be able to mount and align it onto several different lenses, each of which has varying thread alignment.   Seems like the clamp would be the only way to achieve that kind of leeway. Or perhaps some sort of rotating 52mm filter that can be locked into place?   The other thought that occurred to me was 3D printing small plastic rings that would mimic the o-ring idea. Perhaps a set of o-rings would be a good solution, I'm just not familiar with it and don't know of a service that offers that kind of precision.   I found the ring I mentioned, if this makes any difference. it is 8mm tall, and 5 cm in exterior diameter.  
  7. There's a larger black metal ring that was a part of the lens. It wraps around the 39mm thread (which is male) and adds some bulk to the rear element; I normally remove this black metal ring in order to mount with my stepping ring instead. The black ring does not have threads on its exterior, and it doesn't stay attached to the lens very well; often, it will come off of the lens from the unscrewing motion.   I seem to have misplaced the black metal ring portion (I might be able to find it if it's essential, I certainly intend to find it eventually) but here is the photo of the main lens. Only the black portions on the top are separate from the focus ring.   The protruding element on top is about 10mm tall and has a diameter of 39mm; the larger black area's flat portion has a diameter of approximately 6 cm.  
  8. I recently shot a teaser video for a feature film I'm developing. I'm aiming for a slightly analog look so I've been using AIS Nikkor lenses with the Bolex Moller 16/32/1.5x adapter lens mounted to them. The Bolex has a 39mm filter thread on the back, so I'm able to attach it with a simple 39mm to 52mm ring. However, the only way I can align the anamorphic lens with this adapter is by keeping the filter thread screwed slightly loose, and rotating it to the right alignment, then sticking it in place with a thin strip of tape.   This works alright, but I'd like to figure out something more stable for purpose of a feature film. I've looked fairly extensively at the clamps available online, but I can't find anything (Redstan or otherwise) that is specifically tailored to fit the somewhat atypically shallow rear element of this lens, and I wondered if anybody else has had experience with this? I just need a solution that won't add a very substantial amount of length/vignetting to the lens, and will allow me to lock its alignment down. The tape solution results in slight, noticeable shifting around every time we refocus the lens.   Thank you!   Here's the teaser, shot it on an NEX-5n with the aforementioned lenses. Looking into filming the feature on a C300 or a Scarlet.   http://www.youtube.com/watch?v=sgqLqHZk3-A
  9. Incredible stuff. Julian, what filesize are you getting for the raw files on the card before you've processed them into DNGs? I'm trying to extrapolate how much footage one could fit on a card. I'm debating whether to get a 64gb or 32 gb card. And of course there's the question of the speed for the 50d workflow, too! I guess if it's peaking at 50 mb/s there's not much point in spending the extra money on a 1000x card.   Thanks!
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