Ian Edward Weir

Stunning shot glass wizard. 

Hey Guys,
 
long time Bolex 8/19 shooter here.. I need some help. I took my 8 / 19 in to have the rear element cleaned (had some haze forming) and when I got it back it wouldn't focus to infinity anymore. Needless to say I regret this decision. The tech that cleaned it is no help getting it back to proper function.  It focus out about 10 feet or so,   I  reached out to Bernie at super16 (saw his info on one of the other posts) but very sadly he has  passed away semi recently.  Does anyone have a technician they have used for to maintain or repair their adapter here in the USA? any help or expertise would be greatly appreciated. than you in advance.

Pocket 4K in Cinema DNG was up there, before they nurfed it. I still have my original firmware!
Would have thought the finest grain award goes to URSA 12K.
I also liked 5D Mark II ML RAW in 2K. Very digital Bolex like at ISO 1600 especially with a black and white grade. 5D Mark III was a bit too smooth by comparison to the older one.

Tough decision for the money.

I made a comment on the live chat on YouTube and directly under me is the man who started it all. The wizard behind the hacked GH2. Nick Driftwood! 🙂 

If you've built a FF glass collection then that's definitely a bridge to a mirrorless S35 or FF, so in a way you were always keeping your options open.
In terms of low-light I'll be very interested in the GH6's low light as that's one of the aspects of the GH5 that I really push.  For example, here's a shot I took with the Voigtlander 17.5mm F0.95 lens wide open - the scene is solely lit by the lights on the river bank:

I'd recommend you wait for the sample footage and tests as the specifics of how they have implemented the sensor tech will really matter.
The Alexa has definitely become the gold standard within some circles.  Those circles are basically people who appreciate great colour.  I actually don't want ARRI to have the best colour - I'd prefer if the GH6 ends up with the worlds best colour, having the best colour come from a camera I can't afford, couldn't carry, and couldn't realistically use would be a completely stupid wish.
I just find it odd that people can say "Sony might include the Venice colour science in their next A7S camera" and it's fine, but saying "I wish someone would make colour science approaching ARRI" somehow is crazy talk, as if the Alexa is a magical unicorn instead of a sensor and a processor in a box...  just like every other digital camera ever.
I agree.
People talk about high resolutions like a "just in case / when you need it it's there" kind of thing.  I see that "ready for anything" aspect as the design brief of the GH line.
Do people need GH5-level IBIS on every shot?  No.  Most of the time a lesser-IBIS would suffice, but are there times when you need it?  Absolutely.  I routinely push the GH5 IBIS past its limits on trips - maybe because I'm cold or low-blood sugar or I'm filming from a helicopter with the door open at 200kph or whatever.  
Do people need 10-bit on every shot?  No.  8-bit cameras make gorgeous footage in when exposed properly and under modest-DR situations, but are there times when you need the flexibility in post?  Absolutely.  I shot with the XC10 in 8-bit C-Log on a 5-week trip to Italy and have really struggled to clean up the footage because it doesn't have the latitude the GH5 has.
Same logic for high-bitrates.  Every now and then you film in a situation where there's lots of chaotic movement like in rain or snow or with trees moving in the wind or whatever.  Also, sometimes you want to crop in post a bit and not reveal compression nasties.
+1 about not wanting an external recorder.  People who don't care about camera size seem incapable of understanding that everyone isn't like them, it's rather odd.  Its like saying you prefer chocolate ice cream and them saying "no you don't".  
Thanks for your thoughts on the ALEV vs the GH6 tech.  Obviously the proof is in the pudding with the images, which I am really looking forward to, but once it arrives I must admit I'd be very interested in learning more about how it works 🙂 
If all you care about is specs then you can make a complete comparison from the spec sheet.
Some people will be comparing specs until we see the images, but sadly, other people here only care about specs, and when talking about cameras seem uninterested or incapable of understanding the various other considerations that go into making an engaging end product.
Agreed - Prores is a big deal.
One thing that people probably aren't aware of is how good a codec Prores really is.  For reference, a very large proportion of the movies that people saw in the cinema between the mid 1990's and the mid 2010's probably went through Prores HQ, and a good chunk of those would have been Prores HQ in 1080p.  
It was the bread-and-butter codec for Hollywood and often still is.  People don't seem to understand that.

I have solely used GH cameras. GH2, GH3, GH4 and GH5. When I look at the GH6 I say to myself I have the GH5 and it still kicks ass. I only use manual lens and could care less about auto focus. Being that the GH5 holds down MFT for me and some thing like the Z-Cam M4 looks like next level MFT. I'm really thinking of jumping into a S5 or the next version of the SHII. Anyone else feel the same way? The size of the GH6 looks around the same size as full frame cameras. The idea of seeing my vast collection of adapted lens in their native FOV and having the low light capabilities are more appealing than GH6. Anyone else feel this way? 

The scratched lens from yesterday,  polished today. 
Footage coming today 

Redstan, Tony and Alan are all the same person. You can add Keyser Söze to the list to. 

I saw nofilmschool recently has a post on varying aspect ratios in recently new films, I guess it's a way to be different, And it's better serve the story visually.
Taylor wants you to focus on her music, not image, that's what I can tell when I watched that video on my tiny iPhone 5 screen. :-) 
 

If I was starting from scratch, I would go for a Sankor because they are cheap, all over the place and look really good. That with a ProtoDNA would be a nice combo I think. Bolex 8/19 would be nice to. If you are shooting s35 or Full Frame then unfortunately things get rare and expensive. The Vazen lens might be the best bet after DIY scopes. Or a SIRUI. Good luck!

That's exactly what I was afraid someone would say. I'll dig around and see what I can come up with. I truly appreciate the response!

Testing Bolex Anamorphot set with various taking lens and the GH5 5k. 8/19/1.5x Ultra Wide Angle setup + Voigtländer 40mm f2 or Olympus 38mm f1.8 (30mm FOV) + Raynox HD-6600PRO-49 Wide Angle Conversion Lens (0.66x) + 16x9 169-HDV75X-82 0.75 Wide Angle Converter Lens Bolex 16/32/1.5 "Unicorn" + Pentax 40mm f2.8 DA (80mm FOV) Bolex 16/32/1.5 + Voigtländer 40mm f2 (80mm FOV) 8/19/1.5x + Jupiter 11a 135mm (270mm FOV)
I mix the 8/19/1.5x and the Bolex 16/32 footage together. Adding to the lexicon of footage out there. 
If it does not show up in your country on Youtube, here is the Vimeo link. 
 

Testing Bolex Anamorphot set with various taking lens and the GH5 5k. 8/19/1.5x Ultra Wide Angle setup + Voigtländer 40mm f2 or Olympus 38mm f1.8 (30mm FOV) + Raynox HD-6600PRO-49 Wide Angle Conversion Lens (0.66x) + 16x9 169-HDV75X-82 0.75 Wide Angle Converter Lens Bolex 16/32/1.5 "Unicorn" + Pentax 40mm f2.8 DA (80mm FOV) Bolex 16/32/1.5 + Voigtländer 40mm f2 (80mm FOV) 8/19/1.5x + Jupiter 11a 135mm (270mm FOV)
I mix the 8/19/1.5x and the Bolex 16/32 footage together. Adding to the lexicon of footage out there. 
If it does not show up in your country on Youtube, here is the Vimeo link. 
 

Testing Bolex Anamorphot set with various taking lens and the GH5 5k. 8/19/1.5x Ultra Wide Angle setup + Voigtländer 40mm f2 or Olympus 38mm f1.8 (30mm FOV) + Raynox HD-6600PRO-49 Wide Angle Conversion Lens (0.66x) + 16x9 169-HDV75X-82 0.75 Wide Angle Converter Lens Bolex 16/32/1.5 "Unicorn" + Pentax 40mm f2.8 DA (80mm FOV) Bolex 16/32/1.5 + Voigtländer 40mm f2 (80mm FOV) 8/19/1.5x + Jupiter 11a 135mm (270mm FOV)
I mix the 8/19/1.5x and the Bolex 16/32 footage together. Adding to the lexicon of footage out there. 
If it does not show up in your country on Youtube, here is the Vimeo link. 
 

Now on my X-T4, with Bleach Bypass directly from camera. 
 

Bolex at the beach 😉 
 

@keessie65 there I was contemplating selling my beloved Bolex 16/32/1.5x last night, chanced upon this thread, started having another play with my GX8 and 20/1.7 and now resolute I’m going to use it more and about to pull the trigger on the single focus add on 😃
I love how compact this thing is on the GX8 with pancake.

Also figured out how to get this to work in stills mode by using the Penny EXTC mode in Medium at 8MP, which gives an extra 1.3x crop on the already 2x crop.
Took a quick snap before. Works on my Voigtlander 25/0.95 too 😍

Love this anamorphic. Think they may need to bury me with it.
Cheers for the inspiration pal 🙂
 

Thanks Seb, I always used a FF sensor also on baby hypergonar and agfa moller 19/1.5X , the stills attached are from the  baby hypergonar with helios on 5D3.
 
it's an internal clamp system made for me by a smart french guy Guillaume!

Yes, full frame as always , helios 13 blades

and this was produced mid 50's for 8mm film!!
No computers! No automated lathes!
Pure Maths and Master craftsmanship!
Big LOL at more recent so called anamorphic bogies!

Nice lens but I must say that shots have been fired 😉 I own the Baby Hypergonar and did own the Kowa 8 2x before I sold it. I would slow down with the Baby Hypergonar bashing. First of all, my copy and another friend who has the same lens both confirm that we could not reach infinity with the Kowa 8 2x. It is a lovely lens and you have produced some really nice images but nobody puts my Baby Hypergonar in the corner 😉

I have the Takumar V2 135mm f2.5 and found the Jupiter 11A to blow it away in sharpness. Plus you have a nice round aperture at every f-stop. Jupiter is f4 but looks so good

I've had 8 Kowa-8s (also 8Bs in there). Sample variance is huge. Flares can be all different colours, sometimes matching front to back, sometimes not. Some are much sharper than others even when tuned (normal with all scopes). I kept these in the shadow a long time, but when I first stumbled on one I couldn't find even one picture of one on the internet, or even a single word that they existed, it felt like digging up treasure.
I've made some videos with them, but prefer the isco 8s too be totally honest (although how wide a kowa8 can go if you know the right taking lens is pretty amazing).

This whole film I shot with Kowa-8s -