Flynn

My current settings, very basic, which I think have been pretty successful for me.  I'm not super experienced with color grading so I haven't delved into SLOG yet.
PP6
Black Level +3
Gamma Cine4
Black Gamma - Defaults
Knee - Defaults
Color Mode Cinema
Saturation 0
Color Phase 0
Color Depth - Defaults
Detail --> Level: -3
This gives a pretty flat / somewhat low-contrast / low-saturation image that you can push or pull different ways. Here's an example of ungraded (top) and some basic contrast / saturation tweaks [contrast +19, saturation 147] in Premiere Pro Lumetri Color where I was just aiming to get the skin tones looking natural like they looked to me in person:

I really do think the GH4 looks the best, and that surprises me. I figured I would go A7rii, 5d iv, and then GH4. But it ended up being the exact opposite.

Pricing probably calculated so that when they sell it as a kit lens with an FS700 etc they can have a really generous discount to make it look like a bargain.

Fresh test. Better than earlier tests... Rectimascop 80/2x | Helios 44-2 (f:2) | Sony a6300 (4K 25 fps cine2, ISO 100-800)

They note at the end of the video they are shooting in FF mode, which is worse low light performance. I also think they screwed up the white balance, bad representation.

I don't know of anyone who has done this... I think most filmmakers want the flexibility to switch lenses quickly and easily. A single-bodied anamorphic solution that integrates the taking lens would prevent that.  But if you only ever wanted to use one taking lens, an "all-in-one" solution could be done.  If you want it to be single-focus (where the taking lens is set to infinity, and you focus with the anamorphic), this limits your options.  You would probably need an SLR Magic Rangefinder or Rectilux DNA.
Many people have made housings where anamorphic alignment is set once, then all they have to do is swap taking lenses.  Here's mine:

Fabrication can be tricky depending on the the size & weight of your anamorphic, and whether your anamorphic already has filter threads on the front & back. But once you are done, shooting becomes a lot easier.  If you do a search (especially in this forum), you will find a lot of different setups that users have created to accomplish this.
 
 

GFilm shoot on Prospect Short Film BMCC and AG-LA7200
 
Full info on process http://nofilmschool.com/2014/03/blackmagic-cinema-camera-panasonic-ag-la7200-anamorphic-adapter-kickstarter-prospect-sci-fi-shep-films

Could be. Bout the mount... how does the EOS-M mount compare to the E-mount anyways? Flange? Just as flexible? Or more like the NX-mount? Are there any fancy adapters out there already? Is it possible? Are people working on it? Are there just your typical Chinese manufactured ones?
I know a lot of people don't mind a 1080p resolution only. Especially people who are creating online content and need to think about quick turnarounds, with fast editing and mainly dealing with mobile use and/or 1080p screens with 1080p uploads. When it has the skintones and color to match... and the dualpixel AF... that's why I don't get why they did not give it a fully articulated screen. Now GQ's Men of the year (category 'New Media') Casey Neistat has to continue lugging around that Canon 70D/80D a little longer. Honestly, I always think Canon just come up with these kind of things themselves. But why not ask for input and create something that makes a bit more sense for a whole lot more people? Hey, atleast it looks legit now... and! they've included a mic-in.
I'm just not sure why they can't make 'consumer friendly 4K'. I mean... people will still buy a GH-camera, because it's a productivity tool with advanced features... yet all their other cameras provide users with 4K options. That's the thing with Canon... You want 4K, haha! Howabout $4k in cash and bloated professional range cameras? Thank you. Come again. 4K doesn't mean I need 500Mbit MPEG and Canon LOG. Ok, then don't make it that 'fancy', geez. Or... just provide 2.5K/2.7K to really safeguard and differentiate your 4K cameras. I don't get the fear of moving away from 1080p. You've got to step it up to stay relevant (amongst the competition, but also phones are getting 2K, 4K tv's...).

Looks like they've finally gotten the hint from the NX1 and G7.
Unfortunately only looks wise... maybe the next generation the specs will finally match it? And have a fully articulated screen for the vloggers?

I think both skills are essential and learning one can only help the other.  The 2 biggest takeaways so far for me has been:
Being forced to learn how to grade 8-bit (a jpg file is pretty much like grading 8-bit video) because I can't shoot in raw has only helped me understand color grading better and what's happening from a data perspective.
Editing clips together to form a story when there is none has helped me put together better collection of photos together rather than only putting galleries together just based on individual merits of each photo.
I don't own a GH4, but I'd never take my GH3 for photos (anymore).  I think the GH4 is far better, but what you get with something like a Canon is better skin color, and more shallow DOF, maybe better noise performance (depending on camera), and it gives you so many more photo shooting opportunities where there was none.

When I bought my 5D mkii six years ago, it was for video. But at some point I realized, "you know, this is a pretty good still camera, too." [doh]. So I started shooting a lot more stills. I had always shot stills as a hobby, or "to train my eye" for film shoots, or on location scouts. Suddenly stills became much more present. I've now been hired many times as a still photographer in addition to continuing work in film. The bulk of my work, effort, and marketing goes into the film side of things, but I really enjoy shooting still now, too. Here are some shots from a recent trip to Morocco. Shooting stills has also made me a more confident cinematographer, too.

test shots with the sony A7s ii and an old cheap soviet lens 
zenit 50mm f2
https://www.youtube.com/watch?v=B8qhDEenkcM

M43 needs something like that organic sensor that was mentioned years ago, something that will provide a dramatic improvement in dynamic range and iso. Not to say today's m43 sensors aren't decent, but when compared to the latest larger sensors, they're certainly lacking. Still, cameras are more than just a sensor and m43 is capable of stunning results.

I think what I have to get away from is the "fix it in post" mentality. I actually prefer a clean image right off the camera. I have to stop shooting in S-log on my A7r 2, every time I use it I just don't need it. Normal audiences DO NOT CARE about a "film - like" image and I have to constantly remind myself of this fact.

The G8 is gonna be announced at Photokina and sounds like it'll be pretty nice. And the GH5 should be out in a matter months and has people very excited. I'd be patient. If you prefer an older model, should be some price drops after Photokina.

I been looking to get BMCC confirmed it for me it for me that Excellent and Proof that the BMCC 2.5k is more than enough camera for a capable filmmaker.
 
 

In March 2015 - I already had the Pocket - I saw this on Vimeo (shot with BMCC and BMPCC):
Just as an example.
Yes, and I have seen people 'shitting'. Right now there is a discussion between Brawley and some professor Kino, like a fight of Jaeger vs. Kaiju. Entertaining though these arguments are (for a while), they don't help much. With video I rather trust my eyes. If what I see pleases me, that's all I need to know. Then I read reports on the problems and how they can be solved.

The B&H is a fantastic lens but requires some gymnastics to really get the most out of it.  I'm pretty proud of the mod and I believe it optimizes the B&H to its fullest potential.  Tito will be posting a review of it tomorrow.  In summary, to duplicate my lens modification, read through this entire thread carefully before starting.  You should have the following items:
B&H 16mm 2x Anamorphic Lens 58mm Helicoid.  You can use a 52mm but the 58mm diameter allows a closer fit,  The downside is you'll need to fabricate a retainer ring for the front glass element. Telescope Finderscope Clamp Lens Support Bracket Tap & Die Kit Cyanoacrylate adhesive Drill or Drill Press, and Table Vice 3D Printer ABS Filament Materials for making the polyurethane mold Silicone & Polyurethane Casting Material.  I recommend polyurethane Shore D Hardness; 75 (about the same durability as a construction hard hat) 58mm Lens Cap, and cap to fit over the silver Series VII Ring Matte Black Paint, Brush, and Thinner Degreaser and Lithium Grease Sandpaper / Cloth / Finishing Materials Gorilla Tape.  Not necessary but a little added protection around the polyurethane Epoxy NAPHTHA and Lens Tissue Micro Tools / Micro Screwdriver Set Digital Caliper with 0.01mm tolerance Expect to replace some parts during fabrication, like iterating the custom mold for the front housing, or breaking a helicoid, or throwing out a lot of failed 3D printing attempts.  Here is a breakdown of the labor steps required to produce the finished product:
Disassembling, re-greasing, and reassembling the heiicoid (helicoids bought off eBay come with poor quality, low viscosity grease). Removing the original front housing and front glass element. Thinning the matte black paint and painting the edge of the front glass element.  If you are lucky, your B&H's front element may already be painted. Combining the lens support with the telescope bracket.  The Cyanoacrylate creates a temporary bond between the bracket & clamp, allowing to you drill & tap the hole for the screw that will hold them together permanently Making the mold for the front housing.  Lots of trial-and-error here, make sure to read a lot about how to make molds. This is where your McGuyver skills and a trip to Home Depot comes in. Casting the polyurethane for the front housing.  Again, some homework is required here, planning, and a tightly sealed mold! 3d Printing an alignment collar for the helicoid to fit on the polyurethane front housing, the retaining ring to hold the glass element in the helicoid, and the follow focus gear. Assembling and gluing all the fabricated parts.  Make sure everything fits properly before applying that epoxy! Fit & finish (sanding, polishing, cleaning, etc.) Adjusting the bracket height, the anamorphic alignment and calibrating infinity focus Reviewing test footage to confirm the lens is ready for shooting If you’re doing this for the first time, expect to spend at least 1-2 weeks putting this together.  Honestly, even with all the information in this thread I think it will take longer than that.  If you have a full time job, expect the process to take a few months.  This is not a short-term project, it requires immense patience, but the rewards are excellent!  When finished, what you achieve — and I’m typing it again, because it bears repeating — are the following features:
Single-focus Infinity focus Follow focus gear for rack-focusing, with a generous throw that allows for precise focus Re-greased helicoid for smooth focus action  Minimum focus of just under 1m for the 14mm helicoid version, and just under 30cm for the 30mm helicoid version (that is the closest focus of ANY anamorphic I know of). Beautiful 2x bokeh Superb, stable 15mm rail support that locks in alignment and reduces the time between switching taking lenses Nylon alignment screws that won’t scratch the anamorphic Compact and lightweight (the modded B&H + custom bracket = 866g. In comparison, a 16H + Rangefinder is 880g without the lens clamp, filter clamp, and rail support) 58mm front thread for diopters or ND filters, and a Series VII rear thread The side of the front element is painted matte black to reduce internal barrel reflection and preserve the amazing flares Reversibility: The custom front housing can be removed and replaced with the original housing An ideal anamorphic for micro four-thirds filmmakers I encourage any B&H owner to do this mod.  The question you must ask yourself is how much time and money you’re willing to spend to get to a final, usable product.  If you have a lot of the equipment already (especially the 3D printer, tap & die kit, etc.) or your own workshop, you will save some money.
But for those who don’t have the time or resources, I will be selling my mods for around $1000 (depending on the quality of the original glass, and whether it’s a 14mm or 30mm helicoid).  Some of you may think this is expensive, but considering all the work that goes into it, and the value of all the features listed above, I believe this is a fair price.
This is a complete, turnkey anamorphic solution: You put the B&H mod on rails with your camera, and start shooting.  No other purchases are necessary.  If you are interested please message me, I will be be putting the mods up on eBay once Tito has sold his,
Some of the proceeds will help me recoup the parts & materials I went through during R&D.  Some will go to purchasing a lens from Tito (which will help fund his efforts).  Some of it will go towards my next project: modifying the Bausch & Lomb Projection lens.  I will add the same level of detail and information to that thread as I've done here.
I'm not trying to turn this thread into an advertisement for my mod.  I’d love to see other B&H owners continue innovating, modifying, testing, shooting, and posting to this thread to find new ways to get the most out of this great piece of glass!  I will continue to answer questions where I can, but I expect my participation on this thread will wane as I turn my eye towards my next projection lens project 
Keep on modding!

No worries...I think maybe we’re both talking about two different goals / approaches?  It sounds like you’re seeking a single-focus solution for your Baby H and Sankyoscope?
Whereas my goal was to find ways to make the B&H user-friendly for filmmaking.  When modified according to the information found throughout this thread, you can turn the B&H into a single-focus, close-focus, rack-focus, sharp-focus, lightweight, 2x anamorphic solution with fantastic flares and a warm, organic cinematic feel.  On a micro four-thirds camera, the B&H will accept a 55mm or 58mm taking lens with little or no vignetting (or a slightly wider taking lens if you’re shooting in 4:3 mode).
I could have bought a 'proper' single-focus module, but where’s the fun in that?  One advantage is my modification is compact and lighter than a B&H with a SF module attached to it.  I definitely didn’t save any money doing the modification...at first.  But now that I have modified several B&H’s, I can make them more quickly and efficiently.  But the biggest advantage I gained was the amount I learned over the course of the prototyping - I look forward to hearing about what you learn in your pursuits!
Excellent!  I've been so focused on my goals that it didn't occur to me about other potential uses for the B&H.  It's great that you're thinking about other ways to get utility out of this anamorphic... definitely post back here with your findings!
Best,
|. . | .|

Thanks so much! That's the magic of the Baby Hypergonar :). I feel the same and can push the look in a more vintage or modern direction based on what my taken lens is. I'm old school to where I use filters and lens to create the look and color. I really don't due much with grading but crush blacks, add contrast and level out the image. Thanks Tellure!

Shot with Panasonic GH4 in cinematic DCI 4K 4096x2160 in ultra wide 3.31:1 anamorphic ratio.. Lens used were the Baby Hypergonar  1.75x anamorphic with MeVis 35mm f1.6 and the Zeiss Ultron 50mm f1.8. Rectilux 3FF-S, Marumi + 3 achromatic diopter and Fujinon ENG 72mm close up lens. Edited in Adobe Premiere and colored in Colorista III and Adobe Lightroom. 
 

Hi folks! 
Just got my 2x Sankor Compact Cinemascope from my favourite german anamorphic retailer, and I'm quite amazed how sharp is it! Usable picture from f2! There is a custom single focus mod on the lens, it rotates 480 degrees, not really follow focus friendly, but with a wider a ring and a bigger ff gear it should work without problems. I can't wait to try it out on my next music video shoot, meanwhile here's a test I just shot. 
All shots were shot with Gh4 + k&f mft to ef adapter + pentax 50mm f1.7, set to F2.8 + sankor, everything shot 16:9, some 4K, most of it into 1080p.

I've had a UM4.6K for nearly a year.  
It's done many weeks of work on my sets.  Most of the images in my twitter feed are of the same body, the very first one I got.  I've had another two PL bodies for about 7 months that have also seen a lot of use.
The camera can handle on set abuse.  My main body has lots of scuff marks, scratches and dings.  It's been rigged on a steadicam, Movi, to cars, in my hands, in production mode, in studio and remote locations. It's had extra transmitters, timecode clocks, plugged in, audio connections used, additional on board monitors, UMC's for remote focus....
There are many many sequences now in the last two TV drama series I shot that have Ursa Mini 4.6K shots and no one ever picks them.  
I managed to rip one helicoil out early on when an overzealous grip overtightened a rig. 
I lost a lock off screw that controls the tension on the EVF rotation.  I've never replaced it, because the tension hasn't needed to be changed !
My cameras boot up, they don't overheat, they don't loose frames, my shots have passed a zillion INTERNATIONAL broadcast tech checks that specifically go looking for things like noise and FPN and image problems.
Directors love the shots I can only get with an Ursa Mini 4.6K, so I'm going to keep using it.
JB