Justin Bacle

Tested this Zeiss lens with 100mm/f2 taking lens on FF camera.  Is it OK?

Just wanted to share my anamorphic experiences on the forum in one topic for simplicity.
For now I have been using :
- 50D (MLRAW in 1280 x 1058 for 1.2:1 aspect ratio)
- ISCO UltraStar (gold one with 1.5m minimum focus) w/ RafCamera Clamp
- Helios 44-2 58/2 - Practika 135/2.8 (Industar-9 and Mir-1B are coming soon)
Next items to buy IMO are : 
- New clamps (front and rear) as I don't like the tiny tiny screws that come with the RAF adapter and would like my clamps to be tool-less
- SLR Magic rangefinder for rack-focusing ability
Workflow is the following (whilst I don't find a more efficient way) :
- MLVFS -> AfterEffects (CameraRaw & VisionLog) -> Premiere (dynamic link) & Lumetri -> DNxHD 4:4:4 10bit Export
 
 As I have no front clamp (yet), everything is shot without ND filter. Which is not a problem atm as I love the super16 look you get in sunny days
The second video was the first time I really got to shoot at night, I have to say I enjoyed it a lot
A few shots are misaligned and I saw it on the computer :s The screen of the 50D is just too tiny shooting 1.2:1 with in camera desqueeze to notice it whilst shooting)
If you have advices, please do not hesitate to tell me, I'd love to hear them

Hey!
My 2x Sankor Cinemascope is for sale. It has a single focus mod in the front. Sharp from f2, mint condition, comes with the rear clamp. Weight: around 450 gramms. 
PROS:
Sharp from f2 Single focus Awesome image quality Perfect condition Cons:
Around 400 degrees throw on the front focusing element Vignettes under 45mm MFT (on 16:9 mode), 35mm (4:3 mode) Here's a test video I shot with the following setup: GH4 (16:9 4K mode) + KF adapter + Pentax SMC 50mm set to f2.8
 
For more pictures or videos, please contact me via PM. The reason of selling: I'm about to switch camera system.
Price: 750 gbp. Payment via PayPal (buyer pays the fee). Shipping from European Union.

Actually, I saw that the new 4k action cam too was hacked recently.
If they use the same kind of ARM chip and OS, I'm pretty confident about a hack  That would be awesome

Actually, I saw that the new 4k action cam too was hacked recently.
If they use the same kind of ARM chip and OS, I'm pretty confident about a hack  That would be awesome

Just wanted to share my anamorphic experiences on the forum in one topic for simplicity.
For now I have been using :
- 50D (MLRAW in 1280 x 1058 for 1.2:1 aspect ratio)
- ISCO UltraStar (gold one with 1.5m minimum focus) w/ RafCamera Clamp
- Helios 44-2 58/2 - Practika 135/2.8 (Industar-9 and Mir-1B are coming soon)
Next items to buy IMO are : 
- New clamps (front and rear) as I don't like the tiny tiny screws that come with the RAF adapter and would like my clamps to be tool-less
- SLR Magic rangefinder for rack-focusing ability
Workflow is the following (whilst I don't find a more efficient way) :
- MLVFS -> AfterEffects (CameraRaw & VisionLog) -> Premiere (dynamic link) & Lumetri -> DNxHD 4:4:4 10bit Export
 
 As I have no front clamp (yet), everything is shot without ND filter. Which is not a problem atm as I love the super16 look you get in sunny days
The second video was the first time I really got to shoot at night, I have to say I enjoyed it a lot
A few shots are misaligned and I saw it on the computer :s The screen of the 50D is just too tiny shooting 1.2:1 with in camera desqueeze to notice it whilst shooting)
If you have advices, please do not hesitate to tell me, I'd love to hear them

Didn't they say that about the 5D Mkii?

I think that's under the photo IQ setting. The movie icon is down around 5th from the top.

Shot this on the red one mx - 
 
The Red One MX - dynamic range is not there, but it has a look, some kind of unique look - not like film, not like the alexa, but it's own look - older but its there - something nice, kind of like the what's that camera from China - the Kinefiniti
 
shot with red zoom lensses - 18-50 + 50=150 plus ultra contrast 1 - man that flares nicely.
ultra con gives such amazing flares - where have you been my whole life.
So screw new cameras, get an old used camera and mess around with it.
shot at 640 ISO, 4.5k , and that's it
11 stops dynamic range, 10 stops?  who knows, who cares.
it works - it doesn't overheat.  it doesn't shoot slo motion unless you crop it but the motion cadence feels right, not like a videogame like the dragon or weapon or slimer new camera they have.
find its weaknesses, find its strengths and shoot some stuff.
don't be afraid to go into the past and be made fun of, and who cares, just work with your camera as best as you can, and make mistakes constantly and try to get better.
lord knows how i screwed this one up, i should have done more wideshots and had more variety of poses of people

^ Hah. 
I like this piece Ed. I saw you were tagged in it and watched it. It has a nice look, perfect for the piece. 
Bought the F3 because I like the stuff you've done with yours. Old camera but the color is great, totally blown away for the price. People should experiment with different cameras and break the molds a bit. Shot with the Fuji XT-2. Can't believe how nice the baked in color/resolution is out of that thing. 
 

Actually, I started using MLVFS (Magic Lantern Forum link : MLVFS) to import the footage in Ae (to use Camera Raw). I then use the Ae comps directly in Pr with ingest for creating proxies. It is painless compared to the transcoding mayem (raw2cdng -> Ae -> DNxHD 444 -> Pr)  that I used before.

Actually, I would love to see exactely the same BMPCC but with a better battery and an even lower cost (say $500 ?), so that everyone can have one (think film schools, they could give one to every student). RAW S16 for everyone ! YAY !

This 46/2x lens is my favorite size for FF camera.   Suitable to add 77mm filter thread for the biggest filters I owned.
I think they are identical.  But coating colors are different.  Which brand was original?  Zeiss Ikon?  Möller?

This is a typical filmmaking story: no time, have to hurry up and of course no budget ? This is a story about the shoot of our music video and about the mistakes, which you should avoid. 
 
The band: 3 people + me (also the director of the shoot) The crew: 1 DP, 3 assistants The lights: 5500K thungsten studio lights + Small Aputure Amaran portable LED light The camera: Lumix GH4, Mitakon Lens turbo Lenses: Soligor 1.33x anamorphic adapter, Pentax SMC 50mm f1.7, Tamron 17-50mm f2.8, Canon EFS 18-55mm, Canon 85mm f1.8,  Gear: Shoulder rig, Fotga DP500II follow focus, manfrotto 550 tripod + fluid head, 2m home made camera slider  
The pre production started one month before the shoot. I did everything myself: I wrote the script, made the storyboard, wrote the shotlist, etc. I tought that I am fully prepared, but I wasn’t since the whole video was shot at night with a very limited ligthning setup. I did not have the time to try out what are the best settings for the GH4, but will get back to this later.
A month before the shoot I sold my AGFA 1.5x anamorphot, which was a very-very big mistake. I missed two great anamorphic lens deals on ebay so 5 days before the shoot I was without anamorphic gear which was one of the keys to the videos feel. Just few days before the shoot, an EOSHD forum member offered me a 1.33x Soligor and I took it. It arrived 2 days before the shoot, so I quickly checked the fastest aperture I can use, than I had to realize: there is no way I can shoot every scene with anamorphic lens attachment. 
I have my GH4 for 6 months now, before it I was shooting on 5D MKII & t3i. When I got the Lumix I automatically set my PP to James Millers (i really like his work and trusted his settings). After shooting on several live events it performed great, it was easy to color correct and the image was pleasing. Too bad I didn’t read Noam Kroll’s article on GH4 PP settings before the MV shoot. I screwed up, and I did the worst thing that a videographer can do: I trusted my cameras LCD screen, not my knowledge and instinct. I was reminding myself, but we just simply did not have the time to figure out the best settings. Never trust your camera’s screen (but you already know that).
The location was nice a huge house with a garden. The first 1,5 hour went to packing and setting the stuff up, than 3 hours was the filming of the band with a very easy 2 light setup + 2m dolly. We thought that it would be great if the band is sitting while playing, but to make sure we’ve got everything, we shot the band in a standing position as well. And we did good, I ended up using just that one shot, because the sitting did not work as expexted.
When we moved outside I switched the anamorphot for a Pentax SMC 50mm f1.7, I shot it wide open, than I cropped the footage. I think I was shooting at base, 400 ISO. On the screen it looked okay, in fact blacks were crashed and the image was underexposed, which caused me a lot of noise. This is why an external monitor is handy.
The story part was filmed in 3 hours. There were 15scenes/34 perfect shots I had to make, the first 5 shots already took one hour of filming. We were getting really stressed that we can’t finish the shoot that evening. This stress caused a lot of trouble, we did not had the time to figure out the best lightning, we forgot to double check the camera’s settings so I filmed the half of the evening with wrong shutter speed which caused me a lot of flicker, bad ISO settings, and we didn’t even had the time to check the filmed clip to verify if the focus was pulled badly or not. 
During the post production I found out that some of the scenes are really blury, so I decided to go back, ask the actress once again, and reshoot some of the scenes. But I did not have my crew then, and I sold my soligor meanwhile, so a small Aputure LED was my main light, and i used a Tamron 17-50 f2.8 lens to reproduce the soligors 24mm anamorphic feel. I feel sorry that I did not tried to shoot it with a 2x anamorphic lens, that would give it better depth and flavour.
This all caused me a lot of trouble in post production. After cutting the video I had to spend a lot of time in after effects to remove the flicker. Grading was like hell, the picture was absolutely orange, we forgot to set the white balance, so I tried to grade it with Resolve, but the XML does not went through properly because there were too many interpreted footage (from 60 to 24fps), etc. Than I tried to make it happen with speedgrade but after messing with the clips I stayed with Lumetri colors. Every clip is graded with lumetri, well it took me around 10 days to adjust each clips settings, and it’s still far from perfect. Than came another issue: the noise. I tried to reduce it with denoiser, which helped me a lot, but it made my premiere really, really slow.
 
Anyway, here’s the result, it's not perfect but I did my best to make something watchable from it
 
And here’s a cut to show the difference between unprocessed and post-processed footage.
 
What do you think guys? Cheers!
Alex

I started with photography for 6-7 years before jumping in the video world.
I learned photography with film cameras, which taught me to think a bit before pressing the shutter, and I find it very valuable now

I guess the problem is I don't spend my time shooting studio charts.

I think it is always both sides, it is just that some project have a more important creative aspect than others.
But let's be honest, most of the time you work with a producer, you're doing compromises. I like boh aspects myself and can find enjoyment in almost every project

Bags of dynamic range, superb 2.5K image.
Shame they dumped it in the bin afterwards and never updated the camera properly.
URSA is a totally different beast!!
I want another BMCC 2.5K!

IMO, they are in between.  100mm taking lens in FF is safe.  Using 85mm with close focus and wide open aperture is ok.  Since Schneider has larger glass size, reducing vignette has a little bid advantage.   

Two more with the Zeiss 12-120mm T2.4 on the Digital Bolex, this time indoors. The wide shot is with the Aspheron wide angle attachment (6,6mm!). ISO 400, T4, 172.8 degree shutter at 2k24p.

Some fresh tests with Rectimascop 80/2x. Sony A6300 (crop) | Helios 44-2 58 mm (f:2-f:2.8)
Small vignette in infinity can be removed in 2.35:1
 
 

olympus, contax c/y, nikon, pentak k, leica r, yashica

It's called colour-aware pixel binning, which Canon used on C300 to produce 2K 444 image. It's different from simply reading out a group of pixels.

Oh that's not bad at all. I'll probably pick up some wasabi batteries or see how cheap the canon batteries go for now. If I can get a full hour to an hour and a half, with the camera on, using the battery grip, I'll be happy. 

The one I bought had an original canon battery and lasted like 10 minutes when recording :s
I bought a couple of Patona batteries. On my last shot (4 hours event, but I always shut down the camera between takes) i did not emptied one battery. So that's pretty acceptable