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liamlumiere

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Everything posted by liamlumiere

  1. Hello ana-scope lovers, I'm selling my Möller Anamorphot 32/2x and Rectilux 3FF-S. This particular Möller is hard to find especially in such good condition. It took me over a year of searching (on and off) to get one in this condition, it looked like new-old stock when it arrived and had been stiff to turn as a result of sitting somewhere unused for years. I regreased it (when used in the olden days of double focusing) but not really important now as you'll have it set to infinity and using it with the Rectilux 3FF-S. The Möller is known for its sharpness and crazy blue/purple flares! The Rectilux is also in great condition and I've regreased it also as there was some slight vibration when focusing when I first got it so now nice and smooth. The Rectigrip included, I cannot recommend as it put a small dent in the barrel of the scope when tightened and also hard to gauge if front of taking lens is making contact with back of scope. There is a minuscule mark on the coating because of this but barely noticeable. I only noticed it when taking macro shots to sell the scope so I'm including an excellent Redstan clamp that does a brilliant job of holding it in place and prevents elements from making contact. Also included are a Coupling Ring which connects the scope to Rectilux, a custom made lens gear for the Rectilux 3FF-S from Helicopter Sean and a thicker custom 3D printed pitch gear for your follow focus because of the long focus throw in and out. A PDF of Rectilux 3FF-S also included and a clamp most likely used for scope's original purpose and could somehow be integrated into a rig set-up, it's extremely solid. Price: €800 Photos: You can just see the small indentation where Rectigrip made an *impression* Rectilux with custom lens gear: Rectilux has 72mm filter thread. I have used a variable ND filter with no problems. You can also see the purple coating of the Möller that gives it its signature blue/purple flares: Rectilux + Möller + Coupling Ring + Rectigrip Custom 3D printed pitch gear. I have basically used a longer screw and placed it on top of original gear: Redstan clamp: Some screen grabs, oval Bokeh: A recap of what I'm selling: Möller Anamorphot 32/2x Rectilux 3FF-S Rectigrip Redstan Clamp Coupling Ring Original screw on clamp Custom Focus Gear for Rectilux Custom 3D printed pitch gear PDF Rectilux owner's manual I take PayPal and possibly we can do it through eBay but would like to avoid because of ridiculous fees! I'll be posting from France. If you're interested or have more questions, PM me.
  2. I've cropped the top and bottom of the non-ana 3840x2160 16x9 footage by scaling it up in the 2.66:1 frame (150%) so this means my maximum res is 3840x1080?
  3. I have a similar question to the OP so thought I'd ask here instead starting a new topic. I'm mixing 4K anamorphic footage with normal 16x9 4K footage from an a7rII. I'd like to know my maximum resolution I can export without scaling up. My project settings in FCPX are 2880x1080 which will give me an aspect ratio of 2.66:1. I've stretched out the ana clips and scaled the 16x9 4K to 150%, chopping off the top & bottom. Is my max res output at this ratio 3840x1080?
  4. A question for Lens Turbo II and e-mount users; I used the Lens Turbo II with a a6000. On my a7rII though, while using the crop mode for video, the adapter doesn't seem to fit the mount whereas it worked perfectly with the a6000 (same mount). Anyone with this set up experience the same problem?
  5. About the 10bit external recording, did you find out if it actually is 10bit? Atomos have stated in a document that with the a7rII, it is: https://www.atomos.com/wp-content/themes/atomos/PDFs/Atomos_Shogun_fully_supports_New_Sony_a7rII.pdf
  6. I had the same problem with a bit of metallic vibration and it just felt a bit loose so I re-greased mine. It's stiffened up nicely now but be careful not to put too much, the more you put the harder it will be to turn plus it could 'leak' all over the glass.
  7. The green bar issue could well be a lens issue. Does it happen with any other glass?
  8. Will a variable ND on the front have the same effect?
  9. I currently attach my taking lens to the Moller 32/2x using a RedStan clamp and although I do like this for horizontal and tilting 45 degrees, what if I want to do and overhead shot? (which I do). I'm using a Rectilux also (so it's even heavier) and this came with a very strong clamp but the problem is, there's only one point of contact and it put a dent in the Moller! (see photo). The Moller originally came with an excellent looking clamp that screws onto the end of the scope but the other side seems less secure as its just a screw-in tightener. It has two holes at this side and wonder if this is for a wire to be attached for extra security? Any of you guys use these scopes for overhead shots? Cheers
  10. Aren't those Large Format lenses? We're talking Medium Format here...
  11. Surprised no one has mentioned the fastest (and cheapest) MF lens, the Mamiya 80mm f/1.9, known as the Nocilux for Medium Format. It's sharp with lovely characteristic Bokeh. I use the 110mm f/2.8 also, gorgeous glass. I've shot some anamorphic footage also as a taking lens, the image is killer! Yes, the Hasselblads are optimal performers but I find the image less interesting on some versions but that's just me, I love that vintage look. And if we're talking bang-for-buck, nothing touches Mamiya - 200€ for the fastest MF ever made for mass production. Expect that price to go North if Kipon make a Mamiya mount, i'll be getting one for sure. A7rII/sII with this Kipon speed booster and the 80mm f/1.9 Sekor C? *drool*
  12. Looks great. What picture profile did you use?
  13. My Kowa focuses past infinity, does that mean previous owner has modified it or attempted to modify it and would that affect sharpness?
  14. Is it simple enough to dismantle and reassemble, any guides out there? I'd like to have a go at making mine sharper. I've tested the B&H against the Moller 32/2x and it's notably less sharp. I'm sure it should/could be sharper. Cheers!
  15. Different cam versions afaik only relate to compatibility with other Leica cameras, it's a difference in the mount so has no affect optically. Leica R are slr lenses whereas Ms are rangefinders so you may have trouble mounting the Ms also subtle differences in optical design but negligible really. I must point out I have not tested the Leica yet with a scope, only the Rokkor and a Helios. I am also waiting for a 43.5 > 52 step ring so will gladly let you know. Usually though anything smaller than a 58 will vignette on s35 so unless you shoot with a view to crop, it may not be suitable. Did your Zeiss Plannar 50 1.7 vignette on the BMCC with speed booster?
  16. Out of those lenses you mentioned; Leica Summicron R 2/50, all day long. I have the black 2 cam version from 1968. It's small, heavy, beautifully constructed and solid! It's sharp wide open and background melts away. Something very filmic about how it renders. I use a replacement Leitax ef mount (easily the best I've used) and it has a series VI filter thread which translates to the unusually small 43.5mm so you'll need a 43.5 > 52 step up ring for your clamp. Something very emotionally magnetic about the lens, it's precious although certainly not delicate. It's a Leica, remember. It will vignette though on s35 unless you crop or you're on m4/3. I'll be testing it with a Moller Ananmorphot 32/2 at the end of the month when Rectilux arrives. Another absolute favourite of mine is the legendary Rokkor 58mm f1.2. It flares beautifully on its own: https://instagram.com/p/3mibRQypi_/?taken-by=liamlumiere I have tested it with my Kowa B&H and compliments the orange and green flares of the scope. If you want that classic cinema look, minolta Rokkors are they way to go. They all match up well so no headaches in post when you change focal lengths. Again I have the solid Leitax replacement mount. Beautiful classic look with unforgettable bokeh. If you want something more edgy and contrasty check out the Olympus OM 50's. The are sharp and should marry well with the Moller's blue flares for that sifi look.
  17. Yeah, I've tried looking for info about the audio as it's primarily a photo mode but found nothing. No audio would be a deal breaker for me. Back to the drawing board, I'm afraid.
  18. I think my best bet may be Panasonic's new G7 and its 4K photo mode with choosable aspect ratios, 4:3 in this case. I've read it's equal in quality to the GH4 yet a third less in price. Very tempting indeed.
  19. @Julian @Hans Punk Thanks guys for your input. To be honest, after taking a trip over to the ML forums, it reminded me of when I I frequented there when I had a 7D and later 5D3 and to be honest, getting into that workflow again filled me with dread. Do you know if they offer the native h264 codec plus the 4:3 aspect ratio for something like the 50d/550d? If so I'd pick one up just to get used to shooting this way with anamorphic. I can't really bring along a 50d to a shoot and have to explain the complexities of alternative softwares to a client. Done it before and they weren't very impressed no matter how impressive it actually is. I'm really looking for a mirrorless camera that has this feature implemented so hoping that Sony or Samsung or whoever will offer it. There just doesn't seem to be a lot out there at this price point.
  20. I got shot of my 5DIII back in January, got offered 2100€ for it and never looked back. I use a lot of adapted lenses and not all played well with the full frame 5D3, in particular Minolta Rokkors. There were problems with the 58 1.2 hitting the mirror when set to infinity so, it had to go. Picked up an a6000 and has performed brilliantly in the 5D3's absence. However, I've invested in some anamorphic adapters and would love to get the best from them. I would consider picking up a 550d just to use the 4:3 ratio with Magic Lantern. It being super 35, I'd have no mirror issues with my lenses. Any experience with Magic Lantern and this cam?
  21. I know there are some die-hard anamorphic shooters that love the 3.55:1 aspect ratio but lets face it, it's a bit too wide for most things and I hate wasting the extra res by cropping plus framing can be hit or miss as you have to imagine what it'll look like when you eventually crop it. I know the GH4 has recently been given it and Ursa Mini will have it but what other options are there in this price bracket? I've looked around and there doesn't seem to be a lot, if any. Failing that, what's the chances that sony will give it's users this feature or Samsung?
  22. I'm sure they'll release a video demoing the new features. Their marketing isn't the best but this is big for them, they've obviously been listening to user feedback and kept an eye on peer models.
  23. I think JVC have always been known for ENG type cameras and certainly some aspects of this cam like the HD live streaming feature hold true to that but with their LOG profile, 4:2:2 with some nice glass on the front, i'd really like to see that.
  24. As the world goes nuts for the new A7rII and the impending Ursa mini, JVC seems to be overlooked yet with firmware 2.0 on the GY-LS300 (out in September) giving some great features, surely it deserves some recognition. Here's what it's got (will have): ● JVC Log ● Cinema 4K recording mode ● Prime Lens Zoom (that's right, zoom with your prime lens) ● Micro Four Thirds mount with Super 35 sensor (full frame with a speedbooster) ● .mov files (yay! no hunting down your files buried away in a far away folder) ● Duel SD card slots (no expensive cfast cards) ● 4:2:2 full HD up to 60p ● Built in ND filters ● XLRx2 audio ● Built in HD streaming engine over wifi and 4G LTE connectivity So, on paper this certainly looks like a very capable camera. I myself will be upgrading in September so will wait till reviews for the Ursa mini, a7rII are out and plenty of user experience aired before deciding but surely this camera deserves a mention, why no love? Check out this link on their site about the new firmware: http://pro.jvc.com/pro/pr/2015/releases/gyls300_v2.html
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