Justin Bacle

You can make your own single focus for nap2-3m, but big good lenses for single expensive

Budget & 4K are not things that hold any interest for me what-so-ever. If a camera doesn't deliver in ProRes, then it's a waste of time. The same goes for 4K, it's basically a cinema format that is a pipe dream for the large majority of consumers - damn, they can't even give us proper HD tv broadcasts yet!
If you're on a budget, then the Isco Widescreen 2000 is a really good option for a x1.5 - stunning glass, kinda focus through but nothing a few diopters can't solve (hard to find one now, but hey, worth the wait). The only other option is to wait for an Iscorama 54 to turn up, they are a lot cheaper than the others (people don't rate them, but they really are the best Iscorama MC or not) & it'll give you the diversity of numerous lens options, build quality & the weight you really need to film properly.
Start saving your cash, stop buying camera after camera & loosing yourself in this stupid search for perfection that doesn't exist - find the one you like right now & stick with it for a while. I'm not upgrading my BM Pocket for quite a while yet, as nothing comes close to the beautiful image quality that it produces - it's not perfect, but that IMAGE!!!!!!! If you continue to find problems with cameras, then you'll never be happy, cause there is no such thing as the perfect camera - never was, never will be.

Exactly, x1.5 is more than adequate & 2.66:1 is far easier to deal with.
It's only really the purists (with their cheap x2 dual focus adaptors) that advocate a x2 anamorphic, and you can only use one with a camera with a 4:3 option.

once i had shooting with a7sii, didnt had time to test it so i just set it 'manually' to focal_length_of_taking_lens divided by 2. Did u do the same? Otherwise IBIS to strong for horizontal plane (in my humble understanding of how it works). In my case there was some shots with whobling but not much and i think u get the same amount without any ana.

There is a way even easier. Without servomotors. My colleague from Russia solved double focus in mechanic. Only difficulty is to calculate the ana attachment moves and the lens. And nonuniversal this method, only one lens may be used. But cool and less bulky than with motors.
His site http://pooli.ru/

 

Tonight I bought the Kowa Prominar 8Z. Actually more looking for the 1.5x version, but its unsure when and if it will pass Ebay. Now looking for a taking lens and clamps...Perhaps a Rokinon for Samsung 50mm,... or any other nice suggestions?

Hi everyone! 
I would like to share this theory with you all because I am in no position to test it out without spending a small fortune. Recently I cam across this:
https://www.pdmovie.co.uk/collections/remote-air-mini/products/pdmovie-mini-02-remote-air-mini-dual-channel?variant=19159935171
 
The follow focus works via bluetooth. you can download it's app from the apple app store it only works with iOs devices at the moment. 
Fiddling with it a bit I found myself thinking: "If you could set the focus markings for the anamorphic lens on the FOCUS section of the app, set the markings of the taking lens on the IRIS section, then link all the marks together so, the problem should be solved right?"
Do you think it would be possible to link two channel and synchronize them like the genius behind this?:
Or hack the app so to be able to using it in that way? I am no expert of programming, but the people behind PDMovie could be really in a position to make double focusing easier,  IMHO

Get really confused about how resolution is used, or can be applied as a descriptive term, especially when cropping any type of image.
This reveals the circle of confusion when using the term resolution:
https://en.wikipedia.org/wiki/Image_resolution
Personally, don't think it really matters if you crop the sides & resolution (whether used properly or not) is one of those [stupid] hang ups like crop factor or sharpness - I'm going with the final pixel count & not the possibilities of the original sensor image size.
Confusing myself now......

Today, when i was shooting some tests with G80 and Kowa 2x, handheld , i can see sometimes the image whobling and misaligned due the sensors movements.
It's only an advice that i haven't read it before.

I made this for fun. I always wanted to do a drum video with three anamorphic lens. I hope you guys dig it. Cheers!
2.66:1 ratio
Camera 1: (Front) GH2 with Kowa C-35 1.5x anamorphic lens + Zeiss Ultron 50mm f1.8
Camera 2: (Side) GH3 with Bolex 16/32 1.5x anamorphic lens + Voigtlander 28mm f2.8
Camera 3: (Top) GH4 with Bolex 8/19 1.5x + Olympus Zuiko 38mm f1.8 and Canon C8 wide angle adapter.
 

At infinity with small aperture, still have some darkness, not so perfect as 16h.  It is perfect with 100mm on FF, except flare.

ACR and Realtime ? Man it's not chrismas yet ! But I'd love that too !

Had the opportunity to throw my modded FM and Kowa B&H in front of a Dragon for a promo for a hopeful Netflix series. Taking lens was a Nikon 35-70mm f3.5 @ f5.6/8 all day. Hoya 1.2 ND inside the FM, in front of the Kowa. Shot at 5.5k 6:5. The glass really holds up. 

Form the test I managed to do (the 50D and 5d mk2 are not yet fully supported as one every two frames is garbage), I don't see a noticable difference between 12 & 14 bits with a standard grading and a properly exposed shot. 10 bit is too noisy though.
 

Form the test I managed to do (the 50D and 5d mk2 are not yet fully supported as one every two frames is garbage), I don't see a noticable difference between 12 & 14 bits with a standard grading and a properly exposed shot. 10 bit is too noisy though.
 

So, a day after: I have added all my 4:3 files to media encoder, changed the size manually to 960x720px transcoded everything, than replaced the original (bad) proxy files with the new ones and it's working. Hope that premieres future updates will solve this issue.

And 100% hand-made HDMI protector

Fresh videos (2016.11.05) Quality closer & closer :-) First video 4K, I have more time to focusing. Second video Full HD. 35NAP 2-4 | Helios 44-2 | Sony A6300
 

I am currently looking for a similar solution. The only solution I got is transcoding to Cineform but I do it in Ae for use with ACR.

The problem is that we are getting lots of superficial reviews from pretty untalented image makers working far too fast with equipment they don't master in non-professional situations, all, apparently, desperately trying to get views. 

The OIS looks like it is in a "photo mode" when it try to keeps stable, and then suddenly changes to another point. Not very impressed ... 

now only needs a sim card, we can easily dial phone numbers with these buttons, and talk with our client. 

From the topic I understand that cameras with digic 4 or 5 should be Okay. (/!\ of the dual digic architectures liike w/ the 7D)
I don't know yet if it will be merged in the next nightlies but I do hope so as results look good. They will have to update processing software though in order to be able to use those files.

For folks who just can't bring themselves to delete the RAW files, this will save some storage space. And if it also helps the actual recording datarate, the older DIGIC 4 cameras will get a performance boost: keeps the 50D and 5DII relevant for people who already own those cameras.

You can shoot nFD 24mm in 4:3 with 16H/GH4 with no vignette. That calculator isn't always right  .