Jump to content

valery akos

  • Posts

  • Joined

  • Last visited

Reputation Activity

  1. Like
    valery akos reacted to ken in Interested in auto-focus anamorphic lens   
    Just finished in first stage.  Prime lens: Canon EF 40mm STM, actual ratio: ~1.5x

  2. Like
    valery akos reacted to ken in Interested in auto-focus anamorphic lens   
    Taken samples, 2.25:1 from 3:2 cmos FF camera by 1.5x ratio. 

  3. Like
    valery akos reacted to JohnBarlow in NEW!! Scorpiolens Anamorphic Prime Lenses   
    The Zeiss have superior optics but seem quite sterile in the looks dept. The clip above is devoid of flares and the squish you normally get during pulls with wide aperture, the later is obviously desirable but seems to be gained through a loss of the more traditional aesthetic.
  4. Like
    valery akos reacted to ivandamme in NEW!! Scorpiolens Anamorphic Prime Lenses   
    Hey guys, I found this new anamorphic lenses ... information here:
    The Servicevision Booth was directly across from ours at NAB. Managing Director and Cinematographer Andres Valles surprised me on opening day with a preview of a set of 13 Scorpiolens anamorphic primes to be introduced at IBC in September. He also introduced me to the lens designer, physicist and optical engineer Cristina Alcaide.

    The Scorpiolens anamorphics are all 2x squeeze, and all have a slender front diameter of 95 mm. They are T2.0 from 24 through 100 mm. 130 to 260 mm are T2.8. The 300 mm is T3. Average length of the lenses is a mere 6.3 inches. The 24, 28, 150, and 200 mm are 7.5 inches long. The 260 mm is 8.3 inches, and 300 mm is 9.6 inches.
    More info: :o


    The Scorpiolens 2x anamorphic lenses are expected to exhibit practically no breathing and very little distortion, even at close focus. They will cover up to ANSI Super 35 Silent aperture (31.14 mm diameter). Feet and meter scales can be exchanged. Internal focus keeps the lens a constant length. Telecentric and multi-aspheric design, high resolution, and consistent optical performance are planned over the entire focus range. Servicevision is the largest motion picture rental house and manufacturing facility in Spain. Offices in the US are in North Hollywood. - See more at: http://www.fdtimes.com/2012/04/29/scorpiolens-anamorphic-prime-lenses/#sthash.jTi2HrSd.dpuf
  5. Like
    valery akos reacted to HellVideoRazor in Rathenower Rectimascop based x1.5 Single Focus Anamorphic attachment   
    diehroptic.ch is collaborating with Rectilux to bring
    The Dscope
    We will bring a Single Focus x1.5 Scope based on the Rathenower 2x 48, targeting a wide horizontal FOV.
    John does the glass and I do the housing & final fittings.
    It comes fitted with the Core DNA.
    Price target is estimated around 1.800€.
    Please find all the details on my page: http://www.diehroptic.ch/essays/2016/03/rectilux-collaboration-for-a-x15-scope/
    Alex Diehr
  6. Like
    valery akos reacted to ChristieEnglish in Aanamorphic lens for sale!   
    I ended up purchasing lucabutera's lens and I love it.  It works great with my Samsung NX1 and 50-150 S lens.
  7. Like
    valery akos reacted to tweak in Make my Kowa 2x Bell Howell single focus   
    Core DNA is a far better use for your money.
  8. Like
    valery akos got a reaction from raf702 in FS: The rarest Elmoscope-II completed set with 20mm F1.4 lens   
    too much money asking for a lens that sells on ebay for no more than $350 ($400 shipped)...
  9. Like
    valery akos reacted to VLFV in ISCORAMA 42 MC For Sale..   
    Decided to take the lens off the market for now. No longer for sale
  10. Like
    valery akos reacted to enny in SALE Kowa 2x Anamorphic lens for Bell and Howell for   
    Lens sold
  11. Like
    valery akos reacted to zeonmaster in Electronic Follow Focus for Ronin, Crane and others   
    Hello! I am Vladimir and i present my DIY Electronic Follow Focus for Ronin, Crane, Anamorphic lens and others. sorry for my english)
  12. Like
    valery akos reacted to Ian Edward Weir in Bernie Sanders add "It's Not Over" shot in anamorphic   
    A beautiful spot shot in anamorphic. Looks like a Kowa?. Anamorphic zoom? Anybody on EOSHD shoot this? Great job!  
  13. Like
    valery akos reacted to Bold in Aanamorphic lens for sale!   
    That's the DS-1609 model, the WS-13 listed above is far rarer and better in many respects.  $320 USD for a DS-1609 is actually a good deal!
  14. Like
    valery akos reacted to Marcel Zyskind in FS: Iscorama pre-36 incl. 3x Iscorama diopters and more   
    Decided to keep this beauty. Don't know what I was thinking about. 
  15. Like
    valery akos got a reaction from Tito Ferradans in Lens-yclopedia RELOADED   
    I have one if anyone's interested, excellent condition.
    Focus through anamorphic and crazy flares
    Photos can be used for Lens-yclopedia by the way

  16. Like
    valery akos reacted to DanC1 in Looking for a lens   
    Thanks for the reply, I bought the eoshd guide and found a sankor 16c reasonably priced so went for that! 
  17. Like
    valery akos reacted to richg101 in Looking for a lens   
    unfortunately you're not going to find anything within budget that fulfils your requirements.   The iscoramas are not very heavy at all.  pretty much everything else of a single focus nature will be heavier.  unfortunately an iscorama is around 3x your budget.  maybe a slr magic 1.33x?  it's not 100% single focus but preowned should come in on budget.  
    there are plenty of dual focus options that will fulfil the aesthetic and optical quality requirements.  maybe look there (kowa, sankor, etc) then plan a purchase of one of the multiple focus units that are currently on offer.  slr magic rangefinder, FM lens and Rectilux.  get a good dual focus setup and then its just a case of saving for a focus unit.
  18. Like
    valery akos reacted to jcs in Capturing the best A7s skin tones   
    ​Thanks Ben. I don't own a BM Pocket, however I have a couple 5D3's. For RAW stills, the 5D3 is far better than the A7S RAW stills (JPGs too for that matter). Interestingly, once WB is carefully set, and exposure is carefully set, the A7S's video color looks better than the RAW & JPG still color. That said, the 5D3 does indeed hold better color through over and under exposure, and the white balance isn't as tricky: set Incandescent WB and PP Neutral/Faithful etc., and you'll get a pretty good image. For RAW, only exposure is critical (final WB set in ACR).
    What makes the A7S worth shooting with over the 5D3, even in RAW (ignoring the extra post work), is Sony autofocus and IS. There's no autofocus on the 5D3 for video, and the IS is not as strong and is tuned for stills. The 50Mbps A7S files are tiny and still look great. Using the 5D3 to take reference RAW stills can really help with color grading the A7S in post: the Canon stills provide a good target reference for color. With or without 5D3 color refs, once figured out, the A7S provides really nice color, which grades well in post and can provide a very filmic look.
    When I first started using the A7S, I stuck with stock PP6, then later a tweaked PP7 (changed Color Mode: Sgamut to Pro) for one scene (shot at the Salton Sea):
    Stock PP6 (eyes are contacts + Premiere CC masked effects):

    Stock PP6, lit by tricky unknown parking lot light source (sodium?). Shot with Canon 50mm F1.4 at F2.0 and gen 1 MB SpeedBooster (crop mode to reduce RS, SB keeps noise similar to FF mode). All other A7S shots with Sony SELP18200 (FS700 kit lens):

    PP7 with Pro Color Mode: background video shot at the Salton Sea (Actor is GH4 4K, Natural PP, greenscreen in studio):

    GoPro Hero 3, ProTune color mode. Getting nice skintones underwater was tricky. Note that white isn't white anymore- now magenta tinted (dress; didn't do masked/tracked grading just for face, which would have allowed keeping the dress white):

    A7S RAW stills processed in ACR: http://brightland.com/w/delta-bts
  19. Like
    valery akos reacted to j.f.r. in Capturing the best A7s skin tones   
    ​S-LOG mode standard settings
    Graded in Resolve and Tweaked in Final Cut
    1) DaVinci Resolve first node adjust exposure (highlights / lows / contrast)
    2) 2nd node applied LUT ( I believe it was Kodak or similar, I have a whole bunch) 
    3) Tweaked in Final Cut (contrast) + fine adjustments to color in Colorista. I noticed A7s image has more green than normal so you simply bring it down judging by your waveforms and level them out & I like to push the blue (for skies , water, etc)
    It's a pretty long process it seems, but I think the final image is worth it.... I'm used to working with RED LOG files all of the time (work) and the Sony A7s holds up incredibly well in comparison. The main advantage of RED files though is being able to adjust white balance / iso / etc. as the camera shoots RAW, something A7s to my understanding is not capable of. 
  20. Like
    valery akos reacted to j.f.r. in Capturing the best A7s skin tones   
    ​A7s produces beautiful log images which you can basically color/grade how you choose too. The first step is taking that log image and converting to REC 709, then you color to taste...... From my experience Sony A7s produces amazing colors and grades wonderfully, you just really have to spend some time with it and understand how it works. Here's a before/after picture of an unreleased Music Video (Artist: Gyptian) I worked on. Graded in RESOLVE and Tweaked in FINAL CUT

  21. Like
    valery akos reacted to j_one in Capturing the best A7s skin tones   
    I've posted a thread about this topic some time ago.  Everything about the a7s is amazing to me except it's color rendition and how efficiently it deals with white balance.  I keep telling myself it's user error/experience, but the more videos I watch, I'm let to assume otherwise, and it's just made up for with decent grades to the footage to counteract any of the usual color quirks from the camera.
    Take a look at these tests of the a7s against the NX1 done by Andrew, which has been claimed to have excellent colors right out of the camera: 
    1) https://vimeo.com/115669917
    2) https://vimeo.com/115647045
    Of course, it depends on the look you're going for in your footage, but in terms of ONLY color accuracy, the NX1 is miles ahead.  Of course, the a7s is flatter and has better highlight rolloff.  But it seems to have an ugly yellow/magenta bias that pollutes other colors.  This is why it's quite difficult to get accurate skintones out of the camera, slog or cine profiles.
    As someone once described before, the a7s looks like film stock.  I'd agree.  The sensor produces a beautiful image that the filmmaking community seems to love.  But personally speaking, I might not always want the film stock look.  I'd rather start with an accurate "close-to-real-life" representation of colors right out of camera, not an image that looks strange and works well with LUTs, but is difficult to get back to a natural look if needed.
    So, like a cinematographer is supposed to do, its time to do extensive camera tests in various conditions and locations.  The following is a link I'm sure you've come across already; it's a popular compilation of popular camera picture profile settings for the a7s.  Test extensively, figure out what brings you closest to accurate/lush/natural colors, then compensate the rest with quick grades.
    Best of luck.  I plan to buy back an a7s soon and do the same myself, hopefully.  It really is a fantastic, special camera, and it's very possible to get accurate colors.  It's just a question of consistency, considering how the auto white balance/set white balance tools and features are literally the worst I've used on any modern DSLR/mirrorless camera.
  22. Like
    valery akos reacted to jcs in Capturing the best A7s skin tones   
    I started creating a tutorial for good skin tones on the A7S- higher priority projects have taken my time. There a many ways to get good skin tones on the A7S- creating custom profiles can help, though stock PP6 can work very well as is. Slog2 gamma with Pro or Cinema also works well. It is possible to get good skin tones with the A7S using Resolve and no LUTs at all: everything from scratch (scopes are indeed helpful). Casey posted some test images shot in Slog2 on dvxuser. Here is the thread: http://www.dvxuser.com/V6/showthread.php?334239-a7s-skin-tones-slog2-vs-pp-off-(shogun-4k) (IIRC, account login required to view images). Here are the stock Slog2+Sgamut images:

    Here are my grades (no LUTs- just the basic tools in Resolve):

    More blue to separate the foreground actor from the background, also changes the mood:

    Casey's PP Off shot:

    I prefer graded Slog2+Sgamut vs. PP Off. I use mostly tweaked Slog2 + Pro color and CINE1/CINE2/CINE4 + Pro or Cinema (tweaked).
    Casey also created some useful Stock PP7 (Slog2+SGamut) LUTS: http://www.dvxuser.com/V6/showthread.php?334831-a7s-slog2-3d-luts (based on the F65/55 LUTs).
  23. Like
    valery akos reacted to itimjim in Hands down best quality double-focus anamorphic?   
    I love my Moeller 16/32/1.5 that much, I might be buried with it. You can keep your Iscos thanks. 
  24. Like
    valery akos reacted to cricriprod in ISCORAMA x1.33-16-9 RARE… for sale !   
    (remember, this is temporarily on sale for € 2590)
  25. Like
    valery akos reacted to cricriprod in ISCORAMA x1.33-16-9 RARE… for sale !   
    Thank you Rudolf ! Many confusions around the Isco series…
    Yes I insist again on this model probably remains the rarest and the same level of optical quality as the famous 54 (several specialists told me that it would be even higher than 54).
    That's the only x1.33 series that allows a 2:40 Cinemascope.
  • Create New...