Justin Bacle

If sharpness is what you are after, you are better of shooting spherical.

However, some scopes are indeed sharper than others. The Cinelux and Isco Wide-screen 2000 are commonly considered to be sharp scopes, but imo pretty 'sterile'.

I did a quick lens test for a short I am shooting:
 

Thanks! This seems to prove in turn @bunk's theory: i would say that placing the filter between adapter and lens yields an image that has much lens flare/haze, yet the filter effect is reduced. I think i could live with that, awesome @Justin Bacle

Very unscientific test (as I don't have step-up and step-down rings nor do I have a Tripod as I am in a Hotel for work right now)
Used a flashlight to create side lighting.
But here it is. I think I proved your point
No Ultra contrast filter :

Filter In Front of the anamorphic :

Filter between the adapter and lens (sorry for being a different shot, as I did have to put everything on a table) :

They were good cameras when they were new, I still use one as a B or a C camera with great results  Even with 10b raw, I don't think the bandwith is high enough though :s

I agree, the new proxy system has been a breeze, especially since for the most part I'm editing super high-bitrate h.265, which tends to bog my machine down once I get some effects and color correction on there. Toggling that little button keeps things nice and smooth, and is really simple to use. 

I started editing a new project with the update yesterday. Some of my third-party custom effects presets aren't working in the new version and will cause a freeze, but other than that the RAM leak issue seems way more under control than in the previous version, so yeah... so far, so good!

Sure, but hey, you can't get everything right ? :D I would be insanely happy with 2000x1080 12bit Raw continuous recording on the mighty 250€ Canon 50D !

Yes, but any gains in resolution are only offered by the crop mode with the stuttery greyscale preview - it's off center and quite difficult to follow live action. The normal mode and 3x crop fast preview mode are limited to 1920x1080 AFAIK.

They are different things.
The cheaper, the sharper ,the easy way is cropping.
Real anamorphic give others things that a few crazy people loves.
Its just  Aesthetic preferences.
 

What you get with anamorphic is : 
- FLARES, Oval Bokeh, and all the things that are specific to anamorphic adapters
- Increased seen vertical resolution (compared to just cropping)
Some anamorphic lenses are damn sharp and not prone to flare if you're not into that. (Look at the Ultrastars, Cinelux and other coated modern adaptors)

That would be great! In general, I just want to be able to shoot in a bright source. I totally accept that the image changes (since this is lens dependent), but at least I want to be able to see something at all :D

On my anamorphic setup, I put the ultra contrast filter between the adapter and the lenses for best results  So i'm pretty sure you can do the same

Hello:
         Again the boys lantern MGIC surprise us. A1ex, just determined as record the raw video in 12 bit or 10 bit, although it is a finding emerging, it is only a matter of time to debug the application and develop a specific module raw 10 or 12 bit.
As you know, the problem of actaul RAW 14 bit, is what is fantastic, but you need very fast and stable cards (1066x) to record on average 4gb x minute and sometimes, depending on the quality of the card becomes unstable recording . With the current discovery means we can record RAW, but with greater stability and less space or at a higher frame rate.
Today is a great day for the Magic Lantern filmakers community.
regards
Katrikura
Sorry for the bad English
 
http://www.magiclantern.fm/forum/index.php?topic=5601.300

well, Redstan still has some
so the point of "this pointless discussion" is in the thread name,  clamp from Redstan  for Kowa 16H is the best available option today

I can reccomend the lens turbo II (by mitakon) if you can (it's almost as good as the speedbooster). But i'm pretty sure you'll vignette with the mir-1B + speedbooster

I wanted to share my new video I shot with the Baby Hypergonar. Olympus Zuiko 38mm f1.9 was taking lens. 60 time lapse over 3 months. Watch with a glass of wine before bed because it's a real sleeper
 

I used to shoot with FD50mm+ Speedbooster and get no vignette.
But same configuration plus Rangefinder and I get a light vignette in corners.
My helios 44-2 (58mm) dont vignette, but cant get perfect infinity focus with kowa 16H wich is esential for the rangefinder to work.

Exactly what option do give me when calling me a troll besides telling you to fuck off?
Im all up for debate, specially on this subject where so many are confused. And you could have tryed to understand, tryed to explain your view in a different way to get your point across, find other facts. Instead you resorted to name calling and just dissmissing people as trolls.... sigh.
I will ad another smily incase someone thinks I would let a non issue such as an internet discussion put me in a bad mood on this sunny and gorgeous sunday morning
Im out of the discussion but will make a video instead that explanes what different sensor sizes mean and does to images. I didnt think it was necessary since guys like Daniel Levine has prooven this a long time ago in a very excellent video. And since its simple Photography 1.0.
Better ad another smily
Have a great day, Im of to Stockholm for some street shooting. Better start calculating my equivalents...

First owner of Verbascope . My congratulations!

The Helios 44 lens sits back and if far away from the rear anamorphic adapter lens. But still gives best results
It depends mainly of what is the "quality" you're looking for.
But yeah, pancakes are great with anamorphic adapters

Crazy thing is, there is really only one pumpkin on my table.

Ehhh... SLR Magic creates some magic stuff! It's perfect. Yeah, not wide open, then again, don't start claiming Samyang lenses are. Atleast the SLR Magic is nice 'n dreamy wide open, whereas imho Samyang just shows a lack of quality. I went with the 25mm T0.95 because it seemed to outshine the competition in just about every single way. Sharper stopped down. Creamier bokeh. Work of art really. Got nothing to do with imperfections or a vintage feel? I found 'em pretty modern with a twist.
Voigtländers seem a great alternative if you were looking at all manual solid lenses, but I'm digging the SLR Magic CINE approach personally.
Also the Veydras are a superb option. Just... you can't squeeze out more light and it has a fairly tame character. But it means you get results after results everytime. If you want to get the most out of 4K, like resolving wise, that's probably where it's at.
The Lumix lenses (the older ones especially) tend to be very poppy and modern. Saturated colors, contrasty, sharp. The 14-140mm was nice combined with the softish 1080p GH2, but I probably haven't used it since. It's very videoey because of its characteristics and I'm someone who likes the possibility of shooting at f/4 or faster as well. Especially on this crop sensor format, you've got to let the light in, so I've turned to f/2.8 or faster zooms and sometimes even brighter primes. Added bonus is the ability to increase the subject isolation and really pull your subject from the background. And primes really excel at their focal length, a zoom is always kind of a consession between convenience and performance. If you forget about the Lumix glass and leave the pricey Leica glass alone, you'll find the Olympus glass is a little more classy and more middleground. You can't really fault most of their lenses. And the outstanding PRO zooms could be everything you'd ever need. 7-14mm, 12-40mm and 40-150mm f/2.8 PRO with 1.4x teleconverter option. Wowzahs. Non-PRO primes have been solid too. Think everyone here must have or have had the 45mm f/1.8 at some point. The 60mm f/2.8 is probably the best macro in the system line-up and the 75mm f/1.8 is like the holy grail portrait lens. Heard great things about the 17 and 25mm too. But... these really shine on Olympus bodies, on Panasonic, especially the non-sensor-stabilized GH4, less ideal.
Sigma had some EX DN lenses dirt cheap back in the day. 19mm and 30mm f/2.8, optically brilliant (built wise maybe not so great), cool for shooting 4K on the GH4. Earlier editions had a grippy ring. The 60mm and the newer ones had a gripless finish for some dumb reason.
In the end though, it all depends. You need the 4K for its crispness and resolving power? Do you need it for flexibility? What do you need the lenses to do? To be flexible as well? To be compact? Be close to perfection without any quirks? To nail focus? To give you a nice base image? To give you moody looks? You pick a certain camera for a reason, you pick certain glass for a reason. Needs and wants. And then there's just personal taste and preference. But atleast we live in a day and age where we get to have all these options! There isn't one lens to rule them all. That's why many of us have vast collections of different lenses, even with same focal length, just because they handle or render so differently. That's not just between modern and vintage, but as well between Panasonic Leica VS Olympus PRO and Canon FD VS Nikon AI for example.

i've been using the metabones speedbooster on my micro since it was released. no issues.

Hey, it's been a while since I last updated this thread! Lots and lots of new videos and a couple articles.

ANAMORPHIC ON A BUDGET - BELL & HOWELL PROJECTION LENS
http://tferradans.com/blog/?p=9046
ANAMORPHIC COOKBOOK - BUYING YOUR FIRST ANAMORPHIC LENS
http://tferradans.com/blog/?p=8591
CHOP SHOP - 3D PRINTING FOCUS GEARS
http://tferradans.com/blog/?p=9249
ANAMORPHIC ON A BUDGET - FM LENS
http://tferradans.com/blog/?p=9238
ANAMORPHIC ON A BUDGET - BELL & HOWELL ANAMORPHIC MOD
http://www.tferradans.com/blog/?p=9316
ANAMORPHIC CHOP SHOP - BOOSTING UP ANAMORPHIC FLARES
http://www.tferradans.com/blog/?p=9329
ANAMORPHIC CHOP SHOP - ASSEMBLING THE FM LENS
http://www.tferradans.com/blog/?p=9376
ANAMORPHIC CHOP SHOP - HACKING THE FM LENS
http://www.tferradans.com/blog/?p=9409
ANAMORPHIC CHOP SHOP - ANAMORFAKE AMBER SET (37/58/85)
http://www.tferradans.com/blog/?p=9362
ON A BUDGET - FOTODIOX FUSION ND THROTTLE AUTO ADAPTER
http://www.tferradans.com/blog/?p=9444
ANAMORPHIC CHOP SHOP - HELIOS EXTREME MOD MK II
http://www.tferradans.com/blog/?p=9379
ANAMORPHIC CHOP SHOP - PANASONIC LA7200 FILTER HOLDER
http://www.tferradans.com/blog/?p=7873
ANAMORPHIC ON A BUDGET - SCHNEIDER ES CINELUX MC 2X ANAMORPHIC
http://www.tferradans.com/blog/?p=9383

All SOLD.

Finally got some new products out by this year. When busy with the Rapido Mod project, realize I would need a real solid clamp for adapting larger anamorphic lenses. Thus, here comes the Clamp V2 with rail support. This clamp is designed based on the original M67-M77 verion of the clamp with additional features:
1: Anti-slip feature, the front of the clamp has standard 82mm male thread, and a lock ring is screw on to prevent the anamorphic lens from fall off during adjustment
2: Rail support feature, the external ring is connected to a beam, which can be assembled with standard 15mm rail based lens support bracket, like the one from Neewer, to provide rail support of the anamorphic lens.
3: Additional mounting options, the external ring has multiple standard M4 screw holes, which can be used for mounting additional accessories, like monitors, and etc.
4: Fast & easy change of anamorphic lens or taking lens, loosen the lock ring and three screws, the anamorphic lens is ready to be slide off from the clamp. Changing another taking lens is possible without readjusting the front anamorphic lens, just loosing the lens support bracket, and unscrew the taking lens from the camera, then you can screw in another taking lens to the clamp, and carefully locate the lens mount into camera.
5: Compatible with your existing step down/up rings, you can reuse existing step down/up rings, and pair them with this clamp. Say, you purchased a package before from us for your KOWA B&H lens, all you need is the V2 clamp to work with your KOWA and taking lens. No additional purchase needed.


Following is the setup process using Rokinon 85mm as taking lens, pair with Hypergonar H.F. 2X anamorphic lens on GH4 camera: 
Step 1: screw the correct step up ring on the taking lens
Step 2: screw the external ring onto the taking lens
Step 3: assemble the rail support onto the external ring, having the beam pointing down
Step 4: attach the lock ring onto the anamorphic lens
Step 5: screw the step down ring onto the anamorphic lens
Step 6: secure the camera on the rail
Step 7: attach the rail support to the Lens Support Bracket Mount Clamp from Neewer
Step 8: slide the anamorphic lens from front, and screw the lock ring onto the external ring
Step 9: adjust the orientation of the anamorphic lens by rotating the anamorphic lens
Step 10: lock down the anamorphic lens by tighten three M4 screws