valid reacted to Andrew Reid in SLR Magic Rangefinder vs. FM vs. Rectilux..?
This is interesting.
I will try a few wider lenses with the RangeFinder and see how it goes.
I briefly tried the FM. Wasn't impressed.
The Retilux looks better than I expected from Zak's test that's for sure!
The Zeiss 80mm F1.8 Jena DDR was backed onto the Speed Booster XL for this shoot.
valid reacted to Brian Caldwell in SLR Magic Rangefinder vs. FM vs. Rectilux..?
Front focusing attachments are more sensitive to entrance pupil diameter than they are to f/#. So, if it is soft at f/2.8 with an 85mm prime, then it might be just fine at f/1.4 with a 28mm prime since the pupil diameter is actually less for a 28/1.4 than it is for an 85/2.8. So, my question is what focal length(s) give you soft images at sub-f/2.8, and are you able to get sharper results by using a shorter focal length?
valid reacted to Zak Forsman in SLR Magic Rangefinder vs. FM vs. Rectilux..?
The Rectilux is nearly half the weight of the Focus Module. The Focus Module alone weighs 850 grams, Rectilux alone weighs just under 470 grams.
I don't own a Focus Module, but i can say that breathing aside, The Rectilux is a neutral addition to my scope and taking lens. By that I mean, the taking lens is not restricted any more than it would be on its own in terms of shooting wide open. Chromatic aberration or blooming is not further exacerbated by the Rectilux. It is definitely more costly, but in my opinion, it's money worth spending for a piece of gear that doesn't degrade the optical chain in any way. And the breathing is nearly identical to what you see with this old Russian Lomo anamorphics. And you can keyframe it out via horizontal scaling in post if you need to.
valid reacted to dwijip in SLR Magic Rangefinder vs. FM vs. Rectilux..?
In my experience FM works well with most lenses and doesn't work well with some. I couldn't get a sharp image using some really fast lenses wide open in some instances, but in most cases, especially when using a slower lens or using lenses stopped down, or using vintage primes with simple element designs produced very sharp images and it didn't add or subtract from the image that you would get from the anamorphic attachment alone. I guess in that respect the performance is pretty much the same with the Rectilux, although not speaking with any scientific comparative knowledge.
However both the Rectilux and Focus Module has significant lens breathing and both are quite cumbersome in size as well. It really depends on your style of shooting but FM was a bit too big and heavy for the type of work I mostly do thesedays. Which is why I really like the idea of the Rangefinder.
valid reacted to nahua in SLR Magic Rangefinder + GH4 4K + Kowa 2x Anamorphic
Taking lens is an old Canon FD Zoom. I recommend going 1-2 stops from max aperture. So if you have an F1.4, then stop down to F2.8. F2.8 then stop down to F4 or F5.6. Depends on the taking lens. Everything in my video is shot at F4
valid reacted to Art V. in Focus and Anamorphic Compression
Thanks! Here are some quick photos of two of my shooting rigs, with an explanation for each pic.
The image above shows my set-up for shooting with a high magnification supplemental lens reverse mounted on the iscorama, using the Isco on my Nikkor-H 85mm f/1.8. The bracket is made from two strips of hardware store aluminum, drilled to allow mounting with a knob onto the tripod mount of the camera. The angle of the arms is adjustable to allow for different sized foil reflectors to be used at various close working distances. This is a special short-arm bracket for working very close to a subject when there's not much room to move around. The Iscorama has the back end (50mm Nikon mount section removed. Attached at that point is a 52mm to 49mm step-down ring. Onto that are mounted three empty 52mm filter rings to allow the Isco to be mounted on any of my primary lenses having a 52mm filter thread. This ensures that the protruding back element of the Isco compression module doesn't come into contact with the primary lens glass. This three ring "spacer" then serves as a convenient place to attacht an old tripod mount (upside-down) from a junk telephoto lens, which is used as an anchor point for a bowl flash diffuser made from the dish found in a particular brand of frozen dinner. The plastic diffuser has a moveable black piece that allows for soft directional lighting. This diffuser mounts atop the lens using the silver knob on the repurposed tripod mount. The ring resting between the two lenses is a 72 to 52mm step-down ring. All my supplemental lenses have been set up with 52mm rings to mount on the Isco, which is fitted with the 72-52mm ring. This simplifies mounting any of my add-on lenses onto the Isco. Plus, the Iscorama's filter ring is plastic, and subject to wear and possible cross-threading when I'm working rushed. The metal step-down ring saves the Isco's threads, and results in faster lens swapping. The larger lens on the left is the front cell from a junk Vivitar 28-210mm zoom lens... set up for reverse mounting with a macro-reverse adapter ring, and is incredibly sharp, but has a curved field. With the Isco mounted on the 85mm, it gives a "field width" of about 29mm at a lens-to-subject of 6.5 cm. The smaller lens on the right is the large "common objective" from an American Optical "Cycloptic" stereo microscope, mounted in a cell I've constructed from six empty 52mm filter rings. This mounts on the Isco with the front of the objective toward the subject... the same way it's mounted on the microscope. It's apochromatic, has a huge clear aperture of about 32mm, and gives a field width of about 40mm with some vignetting, at a lens-to-subject distance of a bit over 10 cm. Using a 2x teleconverter doubles the magnification and halves the working distance on all my supplemental lenses..
Here's the rig assembled with the Vivitar 28-210mm element mounted on the Isco.The two foil reflectors clipped to the threaded rods are adjusted to direct additional flash lighting to the diffuser. Behind the supplemental lens you can see the knurled rubber ring used to "lock" the Isco at infinity. This was scavenged from a junk lens and was the right size to work onto the Isco. It still allows the lens to focus properly, but totally protects against accidentally altering the focus. The 85mm is fitted with a similar band.
Here's an oblique side view showing how the reflector support posts are rigged, plus how the diffuser is mounted on the old tripod mount. The reflectors can be mounted inside or outside the posts. The black clip provides more clearance for my right hand to operate the camera than clothes pins would, as used on the left reflector.
Here's a bracket I've rigged for night photography. It's particularly useful for shooting when the Isco is mounted on my old 200mm Micro-Nikkor. The cross-bar prevents the arms from shifting position and is a convenient place to mount a small positionable flashlight used for focusing. This "focus assist" light is pre-aimed to provide illumination at the point of focus. The black "flap" is my "direct flash" shield, which mounts like a lens cap onto the front of any of my supplemental lenses. It's positioned to block direct light from the camera pop-up flash, or small speedlight, from striking the subject, creating flat lighting and overexposure. All shooting is done in the fully manual mode, usually at f/16 to f/32 (200mm Micro-Nikkor). Flash lighting is redirected around the end of the lens by the reflectors, which can be adjusted to vary light intensity and shadow angle from either side. The shield is made from a Raynox UAC-2000 universal lens adapter sold with several Raynox close-up lenses, but available for purchase separately. The black flap material is cut from a polypropylene plastic notebook divider. The lens mounted on the Iscorama is the objective from a junk Soligor 450mm lens... extremely sharp, and has a great flat field. It gives a field width of 12.5 cm at a working distance of 31 cm.
Here's the night photography set-up all ready to go.
This nursery web spider and nestful of hatchlings was taken in complete darkness with the rig shown in the previous photo, but with a bowl diffuser mounted on the lens instead of the light shield. The reflectors were positioned to direct additional light onto the subject. I have several bowl diffusers that can mount on a lens just like the direct flash shield, with the Raynox adapter.
This last photo shows a partial inventory of supplemental lenses for using on the Iscorama, most being front cells from junk lenses. Although I have add-on lenses by different manufactures that are from lenses of the same focal length, they produce different "bokeh" and have variability in flatness of field, image color bias, and contrast.
If you have any questions, need additional info, or whatever... just ask. Thanks!
valid reacted to Hans Punk in babies
Zebra ring was from part of an old m42 extension tube that was repurposed to make the focus ring on the CineVision easier to rotate once in its custom made mounting collar. These smaller 8mm scopes pose a few mounting issues sometimes, but nothing that a bit of igininuaty or Redstan could remedy.
Not tried Sankyoscope, but Yashica looks the closest to the CineVision in terms of design and size, so I'd expect that to deliver similar results but I have a hunch that the CineVision types have higher grade optics.
valid reacted to eris in SLR Magic Rangefinder footage - kiss goodbye to focus breathing / Kowa anamorphic goes single focus
This is all very cool, but if it has a rotating front element it means that it almost demands a matte box, but the second you place it within the matte box you can't reach the focus ring gears, right?
valid reacted to Rudolf in babies
It is so stunning that these old pieces of glass can still deliver so well. Remeber they were built nearly 60 years ago!!! The DV crap from Panasonic, Optex, Century is no match for
most of them. The fact that 2x stretch is so rare depends on the low resolution of 8mm. There is also too much grain and that distorts as well. Therefore the Hypergonar was not good for 8mm: I never saw acceptable film with it.
valid reacted to Bioskop.Inc in babies
Iscomorphot 8/x2 - its a fixed focus monoblock @4m, you'll need diopters but the image out of it is stunning (can shoot wide open) & its single coated, so flares exactly like the Kowa (also branded as Animex).
Isco Widescreen 2000MC (not exactly 8mm, but small enough) - again another fixed focus block @5m, again diopters are helpful but you can focus through this one with the taking lens (helps if you stop down a little & use a low strength diopter - +0.5). I found that this does flare when pointed at strong [stage] lights, but most things will with that kind of bright glare.
There is the more expensive, single focus Iscomorphot 8/x1.5, but you need to stop the taking lens down to f4/5.6 to get a useable sharpish image - anything below that produces a dreamy image, which isn't always desired or v.useful most of the time.
valid reacted to Andrew Reid in SLR Magic Rangefinder converts "dual focus" anamorphic (aka Kowa) to single focus - and more
It is really sad that John has to resort to such bad business practices. It is also against the law. What he is saying is false, it is damaging and that is the very plain definition of libel.
That is the last I'm going to say about it because I don't want to wade in and blow it all out into a discussion... especially if there might be a law suit to follow. SLR Magic are really angry about what he is putting out onto social media. it isn't worthy of a discussion. We will SHOOT and not do politics on this forum, thanks for understanding.
valid reacted to threedi in Mount for Iscomorphot 8 1.5
I have been looking and looking for any sort of mount for an Iscomorphot 8 1.5. Redstan no longer seem to supply these and I coudnt find anything else that looked any good online.
So I made my own.
I thought this may be of interest to anyone else looking or having the same problem.
The OD of the Isco lens body is 37.1mm approx so I took a 37mm thread to 43mm adapter and opened up the ID in the lathe until I got a nice slip fit over the Isco body,
I then drilled and tapped a small hole to accept a set screw. I can now retain the lens within this 'adapter' collar and screw that into whatever spacers I need to mount to different lenses.
The set screw is the cup tip type and it holds onto the lens really well.
I make sure the lens is set to infinity before sliding it into the adapter and setting the screw as that is its shortest length of travel in this position.
About £10 in parts too
valid reacted to JohnBarlow in Introducing Rectilux FF Single Focus Adapters (Rectilux 5FF, Rectilux 7FF & Rectilux 9FF Announced)
FLOATING ZONE FOCUS EXPLAINED
Nikon calls this Close Range Correction and Canon calls it Floating Element, so for the sake of accuracy Rectilux calls it Floating Zone Focus.
Back in the day, when lenses were focused by moving the whole cell forward and back from the film plane, it was noticed that when close focused, the image quality suffered. For example, it is usually found that say a vintage 135mm lens would typically be limited to 1.5m close focus for this reason.
Nikon found that by shuffling the distance between lens elements, using a mechanical cam system that they could tighten up the dispersion of the imaging rays to give much improved close focusing capability. Rectilux does the same thing but manually as detailed below.
As you know Rectilux 3FF-W will focus from 0.6m to infinity when the anamorphic and taking lenses are simultaneously set to infinity.
Call this configuration ‘INF-INF’
Now say you are on set and the shot list says you don’t need to focus on anything beyond 5m. Just set your anamorphic and taking lenses simultaneously to 5m. Call this configuration ‘5-5’. Thus 5m is the new infinity and means that you can shoot from 5m down to much closer than 0.6m (I will leave you to do the calculation) and the close shots will be much crisper than the configuration ‘INF-INF’. Of course the whole stroke is available to you, so much precise focus is easily obtained.
Now say you have a romantic candlelit dinner scene. You want lots of bokeh and also want to use it to blot out background distractions. Storyboard calls for reverse head shots and you tell your AC to configure Rectilux to ‘2-2’, meaning set the anamorphic and taking lenses simultaneously to 2m, so now 2m is the new infinity and gives you very close focus capability, so that when the guy proposes and puts the engagement ring on his GFs finger you are there to scoop it up, filling the frame with this shot.
I suspect now you will come to realise the additional advantage of the quick change system, enabling you or your AC, to quickly remove the scope and set it to the desired ‘X-X’ configuration and put it back ready to shoot.
valid reacted to grierdill in The FM lounge (Discussion of anything not related to FM price and discount)
I mentioned this on Facebook about making taking lenses, since they wouldn't to focus, just adjust aperture, and Anamorphic Shop chimed in and said they are working on it.
valid reacted to richg101 in Isco's patent
I just wish the FM unit was a £1500 piece, with glass better quality. using better glass the focusing optics could be designed to do their thing with less extension and the whole thing could have been less length, wider internally and with a kowa for bell and howell or kowa inflight 1.75 would be one of the best anamorphic solutions in the world, having no problems dealing with 85mm f1.4 on full frame.