Flynn

Early test single focus for 35NAP family. (35NAP 2-2 | Helios 44-2 F:2 | Sony A6300) At the moment, there was a test of possibility of a single focus on these large lenses. The test is done on small lenses, large diameter lenses will be manufactured. Sorry for jitter, pic of DIY body for single below  And question, my friends -  how do you think, you need a single focus for 35NAP family, these large lenses?

 
 
 

Many asked about how I focus. You are welcome! In this way I get maximum possible focus
 

It's only better to have a taking lens with a front filter because you don't need to deal with step up or step down filter. Always go for the best taking lens regardless of front filter size. Only when going as wide as you can might it be a issue with slight vignetting in the corners.  

In the vid I posted they said they were shooting on m43 with a vintage 35mm lens at f2.4. If they can get a usable m43 image at f2 that would be fantastic. I'm not bothered by a little softness. This might be a dumb question, but is it better to use a taking lens where the filter size is at or smaller than 52mm?

Hi Vladimir, so the new variable diopter that goes in front is really designed for M4/3 so I'm not sure it will work with APS-C. I have never used speedbooster yet. The good news is it's small and should work with other small 8mm scopes. I'm hearing 2 or 3 F stops sharper with variable diopter attached. F2 or F2.8 would probably be the limit but don't want to make any claims till I see. The last footage I posted looks very promising. 

Yes, you can just screw Aivascope in front of your taking lens. I think ultimately, you are going to want to use the new variable diopter with Aivascope, so no auto focus. I have not gotten info about if the F stop would be better with variable diopter but I think it will improve. Currently, I would not shoot below an F4 with Aivascope. With diopter I'm hoping around a F1.8 or F2. Thanks Flynn!

Ian, if your taking lens accepts 52mm filters would the Aivascope just screw right in, no need for step up rings? Also, since you focus via the taking lens shouldn't autofocus work? I know you probably don't use autofocus, but the reason I ask is I'd be interested in using it for photography, not filmmaking. One final question. I know they recommend it for use with sensors no bigger than m43. Any idea how fast of an aperture you can use with m43 before the image is unusable? Wondering if f1.4 or f1.7 would be okay. No problem if you can't answer these questions, still appreciate you starting this thread.

@Dogtown Yeah, I was very pleasantly surprised that no one tried low-balling me! A big reason why I don't rush sales, just ain't worth it. I'm trying to recuperate some of my cost, mainly since (unlike a bunch of them online) mine does have all the accessories to run, including over 1TB of Gemini cards, which seem to be a hard find at the moment. Lori (Vidgear.com) is currently assessing if the kit is worth her getting involved, but if not I'll put it back on eBay at a lower price, say, $3900 for the kit? The fellow I bought the lens from is still a good friend, and we are committed to never letting the lens leave our ownership.....it's an absolutely stellar lens. 
And yeah, if it doesn't sell, big deal. I'll still have a very good 1080 camera that I can move north with and film wildlife, scenics, and anything else I apply myself to. I'll miss out on the ergonomics and agility of a preferred camera, but I can always keep saving and get a GHx or something later for glidecam work. Again, the 2 "main" factors of this swap are: 1) file sizes vs. image, 2) camera size/weight/agility. 

This video blows away anything posted yet for Aivascope. This is with his new variable diopter attached. I did not want to shoot anything else till I had one on as well.  
 

2M - this is not in real life. 35NAP family - 2-2, 2-3, 2-4, 2-3M. 2-3, 2-3M bigger and heavier than 2-2, 2-4. Optic scheme the same, image look similar. 2-2, 2-4 looks a little sharper, but if good aligned lenses, all will be good. minimum focus distance, if not modded - 8-10 m. If modded, starts from 35-40 cm, but I recommend to shoot from 1m. to close focus - little squeeze. Also present 35NAP 1-1, but I didn't come across.
 

Thanks, Flynn. Yes, I use bellows. Setup as always :-)
 

Yes, if one has the means to acquire the best camera, then maybe use the best --but look at the images posted by the OP, do any of them look like they'd be impossible to capture/create with modern/cheap gear?
"400 Blows" especially. 
The more wonderful and advanced consumer gear gets, the sillier we all look [points finger at self] hanging out on-line talking about things rather than doing things.

Interesting topic that comes around time and time again. I think it's one of those eternal questions that has no real answer but here is my take.
Yes you can produce amazing work on a GH2 or an iPhone but there's a reason professionals use professional cameras. I shoot most days largely as a one man band shooting events, sports and interviews and when you use a tool every day you really get to know it's shortcomings and it's the same when you're shooting dramatic work. The point of a more Pro camera like an Alexa, or an Ursa mini, and a BMPCC certainly has more in common with these cameras than with a GH2, is not that it's a magic fix that gives you instantly cinematic results, although in some cases that is true. The point is that it won't let you down if you use it right, and it gives you far more options in post later.
Unless you're a world class cinematographer you will likely screw something up on set from time to time, exposure or colour balance are particular issues. And a camera like tweet BMPCC will give you a far better chance of fixing or hiding the error, which leads to a better result, which leads to a more 'cinematic' result. I believe that cinematic can often just mean professional. If your work looks like the work of a pro, you're more likely to provoke suspension of disbelief and that's the point at which an audience stops caring about the image and starts getting invested in your story.
But a GH2 or iPhone or Canon Rebel create all kinds of issues that you might not be able to handle on set or in post, thereby leading to an image which looks compromised or amateurish, and thereby reduces the audience's trust in you. An Alexa is so expensive because it largely gets out of the way and allows you to work with complete trust that the tool is gathering all the correct information, while you can get on with directing and shooting.
In summary, you can get great results with cheap DSLR style cameras, but it takes a lot of work and fiddling and mental energy, while raw and 10 bit log may not make your film great but will make it a hell of a lot easier to achieve greatness.
Take from that what you will.
 

This is fantastic looking footage Verbel. Are you using a bellows with this version?

I think composition, lighting, movement (or as you say, lack of) and sound* are the big factors. Camera aesthetics do play some part, especially dynamic range, highlight rolloff and colour.
*Obviously sound doesn't affect the image, but it is a massive part of making something cinematic.

I cut a concert film once where the two main cameras were a 5d and a gh1.  Liked the gh1 image more, but they were close enough IQ-wise that it didn't really matter. 
"Filmlook" really comes down to other things beside the sensor. 
I truly believe sensor preference is akin to choosing a particular film-stock. No more, no less. 
So...maybe you don't have the fastest and cleanest "film" for your movie, doesn't mean jack-squat that it would stop you from making a cinematic production.

35NAP 2-2 (mod) | Helios 44-2 F:2 (VariND) | Sony A6300 (SLog3 | ISO800)
 

Thanks! Yet double focus, now I waiting for big focusing lenses. Focusing method of current setup

 
With some skills time to capture focus in my case around 10 sec max. Minimum config now is two lenses in 3D-printed frames. Bellows can be added also.
You can make for yourself, buy this cheap lens on ebay (look for good condition), info of rehousing and drawings for 35NAP 2-3M here https://www.facebook.com/groups/verbascope/ If some additional questions, please welcome to PM.
 

So, two years ago I bought a Samsung NX1. Then I sold it, so I could have some money in the bank when I moved in with my girlfriend. I still owned the GH1 I bought four years earlier. I convinced myself that I could get equally cinematic imagery out of either camera with good lighting and cinematography. Then I bought a GX7 months later, since it as cheap, we were doing okay financially, and it had microscopically better image quality. Then I sold both cameras and got a BMPCC. Last year we needed some extra cash to get us through a financial rough spot. I convinced myself that I could get just good imagery out of the T2i I bought. Then I get a Nikon D5200 because it had better low light performance and didn't seem to have the moire problems. Then I got the BMPCC camera again because the DSLRs just weren't good enough. I needed the dynamic range, Prores, 4:2:2 color space, etc.
Then I watched a video by a filmmaker explaining why he hasn't, and still won't "upgrade" from his T3i. And his argument had little to do with his particular camera at all. It was the same old mantra of "story over equipment". Instead of spending $3K on an A7S, he could use that money into paying good actors, paying for a production designer, etc. And this is the first time, I think, that I've finally started to believe what I told myself repeatedly about gear not mattering. The idea that the color space and dynamic range of the BMPCC will give me a more cinematic image is the same foolish idea that "shallow depth of field = cinematic" when shallow DOF is just one effect you can use in a shot. But what about the framing, composition, lighting, movement (or lack of), color, focal lenght, production design, costume design? These are still the most superficial aspects of what makes something cinematic. The story, and more specific moments, the acting, direction, music, plus the cinematography, and actual EVOCATIVE IMAGERY itself, the kind that really sticks with you. Like this:





I started thinking "If I sell my BMPCC kit, and my Nebula 4000, and bought a used GH1 or GH2, I would have at least a little money leftover for a short film I've been trying to get done for a while now. It requires a special costume that needs to be fabricated. And that costume is practically the whole movie. I haven't had the extra money to pay someone for their time and materials. And I'd probably still have money leftover after that for the rest of the film. The idea that I can only shoot great images with the BMPCC or a Red is as ridiculous as thinking shooting on film will allow you to create great images. The format/capture medium is at the bottom of the list of what makes a great image. It's hardly even relevant. I've seen terrible indie movies shot on Super 16, and what made them even worse was knowing the director and/or DP who made that choice probably thought they were a fucking artist for shooting on film, even though they couldn't create a single memorable image in their film.
I have recently been hired to direct and DP an episode (and possibly more) or a web series. This is not the first time I have been asked to be a director and direct someone else's script, it's not the first time I've DP'd for someone else, but this is the first time I'm about to be paid actual money to do what I love. Previous episodes were directed and shot by another filmmaker with the BMCC and BMPC4K, so I was considering keeping my BMPCC to at least somewhat match. But...it doesn't really matter. The producer/writer doesn't give a shit what I shoot with, as long as it records moving images. He wouldn't even know the difference between the cameras--he's not technical, which is why he hires other people to direct and shoot. Now I'm kind of getting excited by the challenge of matching a GH2 to BM cameras. I want to put the specs and camera aside and focus on the direction, lighting, and imagery. I've always believed what I'm saying, but now I'm finally taking the truly important filmmaking shit to heart. And I'm not trying to convince everyone here to sell their stuff in favor of older, cheaper stuff. I'm just trying to explore what makes an image unforgettable, or "cinematic". 
Here's the video that actually explained this philosophy in both artistic and practical ways and inspired this wall of text:
 
I've really come to love this youtube channel. His older videos are more about tips and gear, but his more recent stuff is all much more about creativity. It's inspiring me. Maye I just needed to hear all this in a British accent for me to take it seriously.
TLDR: I'm selling my bmpcc and getting a GH2.

Finally got some new products out by this year. When busy with the Rapido Mod project, realize I would need a real solid clamp for adapting larger anamorphic lenses. Thus, here comes the Clamp V2 with rail support. This clamp is designed based on the original M67-M77 verion of the clamp with additional features:
1: Anti-slip feature, the front of the clamp has standard 82mm male thread, and a lock ring is screw on to prevent the anamorphic lens from fall off during adjustment
2: Rail support feature, the external ring is connected to a beam, which can be assembled with standard 15mm rail based lens support bracket, like the one from Neewer, to provide rail support of the anamorphic lens.
3: Additional mounting options, the external ring has multiple standard M4 screw holes, which can be used for mounting additional accessories, like monitors, and etc.
4: Fast & easy change of anamorphic lens or taking lens, loosen the lock ring and three screws, the anamorphic lens is ready to be slide off from the clamp. Changing another taking lens is possible without readjusting the front anamorphic lens, just loosing the lens support bracket, and unscrew the taking lens from the camera, then you can screw in another taking lens to the clamp, and carefully locate the lens mount into camera.
5: Compatible with your existing step down/up rings, you can reuse existing step down/up rings, and pair them with this clamp. Say, you purchased a package before from us for your KOWA B&H lens, all you need is the V2 clamp to work with your KOWA and taking lens. No additional purchase needed.


Following is the setup process using Rokinon 85mm as taking lens, pair with Hypergonar H.F. 2X anamorphic lens on GH4 camera: 
Step 1: screw the correct step up ring on the taking lens
Step 2: screw the external ring onto the taking lens
Step 3: assemble the rail support onto the external ring, having the beam pointing down
Step 4: attach the lock ring onto the anamorphic lens
Step 5: screw the step down ring onto the anamorphic lens
Step 6: secure the camera on the rail
Step 7: attach the rail support to the Lens Support Bracket Mount Clamp from Neewer
Step 8: slide the anamorphic lens from front, and screw the lock ring onto the external ring
Step 9: adjust the orientation of the anamorphic lens by rotating the anamorphic lens
Step 10: lock down the anamorphic lens by tighten three M4 screws

 

Check out the test video of the Rapido Single Focus Solution, my setup is as follows:
Camera: GH4 Taking Lens: Rokion 85mm T1.5 Cine Lens for CANON Anamorphic Lens:  KOWA for Bell & Howell Anamorphic Clamp: Rapido V2 Clamp ISO setting: 1600 Shutter speed: 400 Aperture: T1.5 Video format: MOV, FHD Aspect ratio: 3.556:1 (1920:1080 with 2X anamorphic squeeze) The minimum focus is 1 meter. Different anamorphic lenses are used as focus targets,  set between 1 meter and 2.5 meters from the camera.  The video shows racking focusing from close focus to infinity.
The aperture is kept wide open at T1.5. There is no sharpness drop comparing to the original Kowa & Rokinon combination, and there is no change of the original flare/bokeh character from the anamorphic lens.  This is the main difference comparing to other Single Focus Solutions, like SLR Magics, FM Module, and Rectilux.
More test videos will be uploaded soon.
Youtube video is here: https://youtu.be/h96fqNsKpEI
Vimeo video is here: https://vimeo.com/206798264  (better resolution)
Music: Cloud by Ehrling, link: https://soundcloud.com/ehrling/ehrling-clouds

Hello forum from RUSSIA.
I do anamorphic cinema system for the nozzles on the basis of 35-NAP - PAS SiNGLE
This will be the single focus!
front lens movement coordinated with the movement of the focus lens ring.
So how will the electronic control on the Arduino, it is possible to use different lenses almost without limits!
For each written their own program.
Here are the first tests already working focus system.
The next stage of development is to increase the speed of movement (refocusing) and the finalization of the project.
 

I think his blog is something like the fifth most influential in this field.

I was expecting this and I think it is a major mistake to release the GH5 without the 400Mbps update. First impressions mean a lot and everyone is eager to read the early reviews. Once people see "10bit GH5 worth nothing" a few times it will be hard to make them forget it half a year later even if the new firmware brings a completely new experience. Think of the Ursa Mini 4.6K and how bad the first batch was. Rental houses even state it's not suitable for professional work even today..