elgabogomez

Leica Noctilux F1 would be F0.64 brightness on this puppy... I am going to try it out.

Sony's own catalyst browse software has the fastest "official " way to deal with slog footage. It's a free download.

I shot this a couple months ago, and had a blast! It's always changing, but my anamorphic rig is getting more useable. 
 
Kowa 16-H (still amongst the best ana glass.)
SLR Magic Rangefinder (could loose the blue blobs but otherwise does a great job.)
RedStan Clamps (what more needs to be said? They're the best, and they're red. Makes Canon L-glass jealous.)
Konica Hexanon 40mm f1.8 (this lens just works. Really well. Set to f/4 and forget.)
Samsung NX1 (yeah I'm one of those guys. But this thing pays the bills, and will continue to do so for at least one more season.)
 
 
EDIT: yes, the anamorphic is not perfectly aligned. That's actually on purpose to add to the vintage low-fi aesthetic.

Hi, just guessed because I saw you had posted about the a6300, and it didn't look obviously Canon/Panny... I thought it looked great, saw some fs5 footage the other day that I'm looking for now, it seems when these Sony's are done right, you can get a wonderful look that is somehow very neutral, yet saturated looking..

I just finished a video that is a collection of shots from my trip to Tehran during May of 2016. I hope you enjoy some of the sights I captured of this beautiful city. GH4 4k Baby Hypergonar 1.75x anamorphic with Linos 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 using Colorista III.
 

magellan, welcome!
There's really no one piece of advice that's going to fit everyone's needs.  The best way to decide on your first anamorphic is to research, research, research.
Tito's Anamorphic blog is one of the best starting points.  And you won't find a larger collected body of anamorphic knowledge than this forum.  Search it deeply!  Also look at test footage on Youtube and Vimeo of various lenses to see if a particular brand of lens produces an aesthetic that really appeals to you.
Ultimately there is no perfect anamorphic solution.  Every choice has benefits and drawbacks.  The only way to know the best choice for your is to list our your needs, search through the options, and find the type of lens that most closely matches your needs.
Once you find a lens or two that falls within your budget, search EOSHD and other forums to see what others have built to get the most out of those lenses.  You'll find that there are different strategies to mounting them... from 'bailing wire & bubble gum,' to buying specialty parts, to custom-fabricating parts on your own, and many options in between.

Here are some other thoughts, in no particular order:
1.33x adapters don't have the sharpest image quality and don't do well in low light, but are often the easiest to use.  They tend to be lightweight and adapt easily to taking lenses.  Usually good flares but less oval bokeh.  They are relatively easy to acquire and will run you between $500-800.  Not a bad choice for starting anamorphic.
Big projector lenses will give you that nice 2x oval bokeh, but vary wildly in terms of flare and image quality.  They are invariably heavy so they require a certain amount of adaptation and support (which adds even mre weight).
Although I don't have one, there are some dual-focus lenses that appear to deliver great images.  But dual focus seems to present another set of headaches if you're shooting something with lots of movement.  Probably not something you want to take on as a beginner.  Dual focus owners can speak better to the learning curve and the time involved to get good focus during dynamic/complicated shots. 
Watch some films shot with anamorphic.  I just rewatched the original Mad Max, and realized there are some shots with horrible aberrations at the edges, and the film has barrel distortion throughout.  But you know what?  It doesn't matter.  What matters is how the images made me feel, not how razor sharp or technically precise they were.
What Bioskop said. It is okay if your anamorphic images aren't perfect - they aren't meant to be.  
Most importantly, MONEY = TIME.  If you save money buying a cheap anamorphic, the more time you'll have to spend getting it to work.  So they key the questions are: what's your total budget, and how much spare time are you willing to spend building your rig?
I saved money buying some B&H's, but the time it took me to get them to where I needed was enormous.  If I had to do it over again, I might have chosen a different route.  Then again, I learned a LOT in the process.
I hope this helps!

What gave it away? I shot it slog3 and massage it in resolve with dread as we all know stories of ugly color and thought that it looked good and neutral... Also I was hand holding a kowa prominar in front of a 24mm lens and with the Sony zoom at 1.3 with minimal vignetting.

a6300 ?

Obviously not a pro test, my newly born stars in this personal test, can you guess what camera was i using? Password: test
 

if you don't wanna pay for the EOSHD guide, mine is free. (and better. hehehe)
www.tferradans.com/anamorphic

No the one he posted is just a "16" I have a feeling it's an older version (pre A,S,D etc), it's similar in size and make to a 16s but slightly different. You can use 16s clamp. It has blue flares and pretty good image quality, I bought one for my brother in law.

Cool
No the grip was fine, I also left the little tripod on there.
Yes, I would say most runs are with it at 45 degrees or upside-down. You can hold it right side up and then go to 45 to upside-down and back again smoothly.
The Sony kit zoom.

Dear creative colleagues, A6300 is optimized. It took a while. 
 
With this camera I expanded the analysis to further reduce banding. Primers are now designed for Cine4 and S-Log2 gamma. The new approach was successful. S-Log2 now has dramatically reduced banding and with Cine4 it is not an issue.
 
With this approach the following requirements are necessary to allow Primers to optimize your camera:
 
Two picture profiles:
 
1) 
 
Gamma: Cine4,
Color: S-Gamut3.Cine
Saturation: 20
Black gamma:wide, level +3
Knee: mode manual, point 75%, Slope +5
 
2)
 
Gamma: S-Log2 gamma 
Color: S-Gamut3.Cine
Saturation: 25
 
I put modded Cine4 on PP1 and modded S-Log2 on PP2 for more practical shooting. Modded Cine4 will be fine for most cases and with Primers holds most of DR well, and S-Log2 is useful when you need that extra stop, such as exterior highlights shot from the interior. 
Cine4 on ISO250 gives a practical switch to PP2 to S-Log2 at ISO800 without having to compensate with f-stop. 
 
All Primers for A6300 are color neutral, each optimized for a different scene light values and feel. From lower to higher contrast. If you want higher contrast, make sure you use a dedicated Primer for that, it achieves that differently than with typical post tools. All color manipulations in post shoud be done AFTER the Primer. You can compensate the shadows and highlights, colors have to be intact for the Primers to optimize the response.
 
Few examples with medium contrast response Primer, XAVC-S, shot in 1080p: 
 
 

 

 

 

 
There are a few more examples on the Primers page. 
http://omeneo.com/primers/
 
 
 

Looks like ursa or blackmagic 4k 400 underexposed...

I shot a small narrative (I won't call it a "short") mixing all 1.33x anamorphic adapters with various taking lenses. The goal was to test out if all that talk of "this adapter is good, this one is bad", to see if we can actually notice the difference between lenses when there's a story being told. I included both well lit and low light shots to evaluate performance with different apertures. The camera used was Kinefinity's Kinemini 4k, and I shot it all raw for more flexibility in post. Taking lenses were all Russian, from 28 up to 135mm. The blog post has a cheat chart with all the data for each shot.
Can you tell when this or that lens is being used? Is there anything in particular that bugs you? Do you think this test makes the difference between 1.33x adapters easier to notice?
Lenses used were Century Optics WS-13, Panasonic LA7200, Isco 16:9 Video Attachment I, SLR Magic Anamorphot 1.33x-50, Century Optics 16:9 (the small one).
http://www.tferradans.com/blog/?p=8333
There's more info on the blog post above, but if you're feeling lazy, here's the video.
 

Too risky for long form interviews and events, but for most other things why not roll out with two of these?
You can just hand off the entire camera to  your DIT or assistant to offload the footage, swap the battery, and let it cool while you use the other body. 
It's good to have a backup body anyways.
You also have the option for 2 cam setups, or have one camera with a wide lens, another with a long. Or one on a gimbal, the other on sticks. Less setup. 
I guess a half hour limit doesn't seem like a huge problem because I remember when I had my RED w/ handle and it would last only like 20 minutes anyways (battery and media). 
 
 

We recommend the SLR Magic HyperPrime 25mm T0.95 III for micro four thirds and the SLR Magic 50mm F1.1 for E-mount S35 because it is not compatible with all lenses and it is not possible for us to try all lenses from other manufacturers to test for compatibility. The lens is better paired with lenses with smaller front elements with a short distance between front element and rear element of the Anamorphot 1,33x-40. At NAB we tried the Anamorphic 1,33x-40 on the Zeiss Loxia 35mm f/2 and the image is great as it fulfills the compatibility conditions.

In his original post "and I need versatility (as far as possible) for all types of work and durability" A6300 might be okay for Narrative work, but live event coverage?

That's very speculative about the 4K 60fps.
Hardly think Sony is protecting the FS7. As an FS5 owner and A7S II owner I can say the consumer line already comes dangerously close to the point of toppling the image quality of their pro cameras.
The A6300 is far better than the NX500. No sensor crop. LOG. Likely better low light. 6K readout. Speed Booster.
I think it will outperform the NX1 or be very similar, let's wait and see... Not long now.

For all kinds of questions regarding vignetting, just use the calculator!
http://www.tferradans.com/blog/?p=8615

Dear Tim,
The lens set is already available for purchase by contacting support@slrmagic.com.
Kind rgds.,
Andrew

Yep. Has nothing to do with AF. 
So, setting face detection to "off" seems to get around it for people who intend to record internally- but only if you press record. If the camera doesn't think it is seeing a face, there's nothing to apply smoothing to. The problem is, this "workaround" only applies as soon as you hit the record button. When it isn't actively capturing, that face detection and skin smoothing come back in the live view. That means if you are feeding a live HDMI signal out to an external recorder or to a monitor or internet streamer, the faces will be all waxy. Pressing record will help for only 30 min increments, since the internal recording stops. Or, in the case of the A5100, it will overheat before even that. 
The biggest reason this bug irks me is that these little cameras are actually excellent for sending APS-C live hdmi out for hours on a single battery. If you aren't recording internally, the A5100 not only never overheats, but also can feed an Atomos Ninja for over well an hour with battery left to spare. With Ninja's being under $300 these days, this is a great B-cam to shoot events and concerts alongside something like an A7s. But this bug makes external recording or streaming nearly pointless. Pressing record every 30 minutes isn't practical if the purpose is just to get a clean signal, and will run down the battery and heat up faster for no good reason. Not to mention the unnecessary wear and tear on a memory card doing write cycles when we don't need to. 
Something interesting that just occurred to me- We mentioned above that the bug only exists in video mode. Not on M or any other photography mode. Unfortunately, the only way to get a properly resampled clean HDMI video signal is by being in video mode. But interestingly, when in video mode, skin smoothing is greyed out in the menu. You can't toggle it on or off, as I think it was supposed to always be off. This bug, however, makes it default to ON even though the menu is greyed out and says "disabled" in video mode. 
I'm wondering, maybe the reason it doesn't do it in photo modes is because you have the ability to toggle it off? Maybe if Sony actually let us turn it on and off in video mode, the camera would respect our choice to turn it off?

I don't know if I'm on to something. Hopefully someone at Sony can figure it out and give us a firmware update!

I use an Atomos Ninja 2. I think the output is standardized to be 60hz but there is a pulldown applied that the recorder seems to know how to deal with. Recorder and camera were set to 1080/24p, and the footage when viewed on my desktop in post accurately shows 23.97fps (and looks great). I don't think the camera or recorder supports 60p over HDMI. 24 and 30 seem to work fine (NTSC user).
 

There are other alternatives but Redstan's clamps will get you closest to you taking lens. They are also the easiest to use, the safest being your anamorphic lens will not fall to the ground when your adjusting your alignment, and the sexiest in my option. You get what you pay for. Redstan is the man and his clamps are amazing but if you are in a crunch for time and money, Jim at  Rapidotechnolgy could have a alternative. http://www.rapidotechnology.com/ 

http://menexmachina.blogspot.com/2015/12/a7rii-m43cmount-lenses-with-cropzoom.html