Justin Bacle

It took me only forever to find the time, place and people to shoot this. It's the second part to the Single Focus Shootout I posted back in December. It's a lengthy post, but I could really use your feedback!
The goal was to compare the performance of the three most popular single focus solutions with similar setups. For that I used the same taking lenses and identical Kowa B&H's paired with the Rangefinder, Rectilux 3FF-W and FM Lens. I planned a similar number of shots using each of those combinations through a variety of wide, medium, close ups and extreme closeup shots. In the end, the question is: do the single focus solutions stand in the way of story, and if so, which ones bother you, and which don't?
In this other video I went a little more in detail about what I wanted to achieve, the shooting process, the crew, score and lenses, just to give it some context and.
Finally, I made a blog post with a cheat sheet for all the shots and tech specs.
All of this went up online yesterday and I've noticed the strangest behavior. First of all, the view count was incredibly low when compared to regular reviews. Then, the number of dislikes is high, the number of likes is low in raw numbers, and the ratio between them is about 25% dislikes. I usually get between 0 and 2 dislikes for a review (even a rushed one). Comments are also all over the place, both on Youtube and the facebook groups I posted it on. The combination of all these factors got me thinking and that's what I wanted to discuss.
1 - Everyone is ALWAYS asking for narrative pieces, and actual work using anamorphic adapters. It's common knowledge that cat videos and girlfriends aren't enough to judge a lens' performance, since you won't relate to the material, you can nitpick about vignetting, softness, CA and so forth. When you have a story on the screen, it instantly overrides nitpicking, and people will only notice flaws if they're really glaring (like the on-and-off vignetting in the first video). Anyway, I thought the thirst for narrative work using these adapters would be a boost for views, it's a 3-min story vs a 7-min review. So why aren't people interested? Or they just don't care about other people's work?
2 - Regarding the dislikes and feedback: I can't quite figure out if they dislike THE STORY, or THE TEST. I think it's a bit insane that I went way out of my way to shoot something more interesting and the audience completely ignores the original goal (TEST!), judging the piece for STORY and using elements for the TEST as reasons they didn't enjoy the video. Confusing? Here's an example:
I wanted to compare how the FM, Rectilux and Rangefinder perform when paired with a 50mm lens, heavily stopped down. I could shoot a chart (boring), but I shot a story instead. It turns out the FM vignettes like crazy and the Rangefinder barely shows any dark edges. Instead of noticing this objective piece of information ("wow, the FM can't handle wides as well as the Rangefinder!"), I got comments like "you should've noticed the vignetting on set and addressed it". I'm not blind, I knew it would vignette. I shot in a way to SHOW IT! hahahaha
My overall feeling of the piece is that it's making me look bad as if I didn't notice all the issues and solved them. Any advice or comments about that? Did you guys get my original goal was to highlight such issues?
Thank you!

I just want them to reduce the price of this damn BMPCC. Still the same price as when it came out, plus used market is still quite expensive in comparison to the retail price :s

I just want them to reduce the price of this damn BMPCC. Still the same price as when it came out, plus used market is still quite expensive in comparison to the retail price :s

Yes and you have to take into account that X amount of people Only paid 500 bucks for one for awhile.
Oh I still doubt it is going to look as good as the Raw on a BMPCC. But they are not very practical without a rig. And by the time you rig one out really nice you are not too far form a GH5 price. I just don't know if they are worth the hassle anymore. And that Look is only needed for people like us, on here, compared to thousands of people that want the digital look, buying them for the 4k.. 
And with the GH5 heck you don't even need a tripod for a lot of stuff. And a really good monopod might be a great thing to invest in for a lot of the rest, the ones with the feet or foot on them...
Its like a Sony F3, I have always wanted one, but you need to buy the one with the true 444 upgrade in them, and they are over 2000 bucks. Are they still worth it? That is GH5, Canon C100 territory, damn near a original Mini Ursa price! I am not sure on that move either. A F3 is old just like my Af100, does that make them useless no, but now I think maybe better stuff is out there for nearly the same money. Hard decisions when you don't have a lot of cash. And it is not just the body you are buying, it is the System you are getting into. That is where it gets damn expensive.   But hopefully you can use parts of it on another camera.

I just want them to reduce the price of this damn BMPCC. Still the same price as when it came out, plus used market is still quite expensive in comparison to the retail price :s

Actually it's a Canon 5D2 upgrade program. Hence the 200 moniker. Sensor unlocked to shoot in 16K resolution up 9000 fps. Only thing is you have to send the camera into the factory as they take a hammer to it and rebuild it with super glue.
Oh yeah, plus they need to stencil on the two 0s, so you know it's a 200.
What do you mean I'm full of shit? I heard it from a Canon rep.

Introducing Rapido Single Focus Solution: http://www.rapidotechnology.com/
Test Video: https://vimeo.com/213997325
 

Hello @ReinisK and welcome to the anamorphic club !
First of all : WE WANT PICS ! I'd like to see your setup and images it produces. Very curious ! :D 
@Dr. Verbel' already has worked (with great success) on adapting these NAP2 lenses. I still have to do the conversion on mine though (Just 6 months late ... usual stuff)
As for the squeeze ration changing, it is quite normal with projection lenses. (Varies between 2.0X (at infinity) and 1.8X (at 1.5m) on my Isco ultrastar).
I just stick with 2.0X in post and usually you don't notice it unless you rack focus. A single focus solution would get rid of that.
If the ratio seems just off you can just change it in post

Maybe buy a couple of their weather-sealed primes? 

Check out my picture of lens. From left to right. 2 Baby Hypergonars, 2 Kowa 1.75x Inflights, Kowa C35 1.5x, Bolex 16/32 and Bolex 8/19. The Kowa C35 has a much bigger back then Bolex 16/32 and the Kowa Inflight is much bigger then the C35. 

 

I came to the same conclusion using all the various Kowas I have (baby and otherwise), basically being that I really can't go any wider with a WA adapter than I can with the widest taking lens. To use the WA adapter I have to use a longer taking lens and I end up at the same focal length pretty much. Also I tried some super big WA adapters but didn't like the IQ at all. I like most people thought that this was going to be a cool way to shoot wider, but it didn't really turn out like that haha.

Great news !
I am finally able to get nice flares with the ultrastar ! I just put a cheap variable ND filter in front of the anamorphic and boom. Mind -> Blowned.
(50D, Helios 44M, shot at iso 800, f/2 and 180°)

Some time ago, I bought one of these huge wide angle adapters (Mine is a Century Optics C5365 Wide Angle Adapter).
I tried to use it for wider anamorphic shots, but failed. As @Ian Edward Weir explained to me on my initial post on Facebook's anamorphic shooters group, you have to focus everything down to 0.5m in order for this to work, but no anamorphic adapters can focus this close of course :p
So here is my second attempt. And I find it quite successfull if I might say
Here is the setup :
- Pana AF100
- Minolta 50/1.4 (@ f/4)
- Isco Ultrastar
- +1 Close-up diopter
- SLR Magic Rangefinder
- Century Optics Wide Angle adapter

With the Rangefinder focused at the minimum (3'6 ft) I have infinity focus ! (YAY)
Pic 1 : With +1 diopter, Rangefinder, Wide Angle adapter (Both taking lens and anamorphic adapter focused to 1.5m)

Pic 2 : nothing in front of the ultrastar (focused at infinity) graded to match the previous image

Pic 3 : Same image uncorrected

It seems there is a lot of light loss with all the optical elements added :P
A bit of sharpness loss too, but that's to be expected knowing how NOT sharp the rangefinder is :s
I'll make a next attempt with my 50D to see if I can really get wide shots !
Let me know if you guys had any other attempts at this kind of frankensteineering  

With the 50D at the widest I could go with and without the "wider" setup.
Pic 1 : Canon 50D, Helios-44M 58/2, Ultrastar, +1 diopter, Rangefinder, Wide Angle Adapter :

Pic 2 : 50D, Pentax 40-80mm (@40mm), Ultrastar

 
YEP, the "wide angle" setup is actually tighter than the basic setup. It also a bit less sharp but shows less distortion (Which is something I like about wide angle anamorphics).
Back to square 1 :p

Some time ago, I bought one of these huge wide angle adapters (Mine is a Century Optics C5365 Wide Angle Adapter).
I tried to use it for wider anamorphic shots, but failed. As @Ian Edward Weir explained to me on my initial post on Facebook's anamorphic shooters group, you have to focus everything down to 0.5m in order for this to work, but no anamorphic adapters can focus this close of course :p
So here is my second attempt. And I find it quite successfull if I might say
Here is the setup :
- Pana AF100
- Minolta 50/1.4 (@ f/4)
- Isco Ultrastar
- +1 Close-up diopter
- SLR Magic Rangefinder
- Century Optics Wide Angle adapter

With the Rangefinder focused at the minimum (3'6 ft) I have infinity focus ! (YAY)
Pic 1 : With +1 diopter, Rangefinder, Wide Angle adapter (Both taking lens and anamorphic adapter focused to 1.5m)

Pic 2 : nothing in front of the ultrastar (focused at infinity) graded to match the previous image

Pic 3 : Same image uncorrected

It seems there is a lot of light loss with all the optical elements added :P
A bit of sharpness loss too, but that's to be expected knowing how NOT sharp the rangefinder is :s
I'll make a next attempt with my 50D to see if I can really get wide shots !
Let me know if you guys had any other attempts at this kind of frankensteineering  

As i will buy 2 cameras in July, I just took a look at the LS300 (@Mattias Burling has tested it) for a few hours with a friend who owns it. Some remarks:
It has a respectable 1080p quality (25p +50p too), no complains. 4K IQ is also OK.
Colours: Some kind of "sterile", no structure/texture in images - it reminds me of the NX1. Colors are pleasant/neutral, but not exceptional in any sense.
Really useful: The dual card system allows you to record in different (independent) resolutions, so you could record 4K on the first card and 720p on the second card. GREAT, because, the LS300 allows you to send your footage immediately LIVE, eg to Ustream or YouTube. For people who need this feature - very good. (You can send your footage per FTP too...)
AF is (for contrast AF) great, we've tested it with a Panasonic 35-100 2.8, the OIS of Pana lenses works with this camera well. BUT don't expect as much stabilization as from a classical camcorder or a modern IBIS + IS lens. AF + Canon (+ E2MFT adapter) lens is very slow and hunts sometimes, depending on used lens...
Turns every prime lens you mount to it to a parfocal zoom lens - just focus and push the zoom rocker button and the camera will keep focus during zooming. A very useful feature too...Focusing features are good...
The camera needs contrast (another similarity with the NX1) in low / decent light, otherways you will get very fast some noise and/or washed out colors. 4K J-LOG is maleable, no banding in the skies but we didn't push it too far.
It seems, the coming update will make the recording of 4K 60p possible - but only with a external recorder. This way you loose the portability advantages of a very light camera. Generally the LS300 feels a little bit "cheap", but hey it's only 2.800 Euros...
For a mixed usage - ENG + filmic work - hard to decide...Not enough stabilized (with IS lenses) for carrying it on your shoulder, but excellent for live broadcasting.

Can you share some images ? I'm not sure I totally get it
As for the distance between the adapter and the lens, it is usually preffered to get them as close as possible. In my tests however (with the ulttrastar) I did not see much of a difference except for vignetting.

Not while recording and the mirror is up

the isco ultrastar changes from 1.8X (1.5m) to 2.0m (infinity).
I'll have to check with my elmo I and Singer/Sankor 16D if you wanna know for these

They should re-house it in an awkward box and they will make a mint.

So basically, with this upgrade, the only thing missing from this camera is 10bit (which is mentioned on this thread but not on the update page).
If they add it, I'll have no reason not to buy it :D

If it adds 10 bit, then it will be called FS7 mark II, and will be sold for 9.999$ in B&H! (and it will have e-ND too!)
I still haven't figure out completely the J-log procedure, the noise in the shadowy parts are insane.
If anyone here cares, it would be super-duper to explain the procedure in detail.
Cheers.

Just go with the Isco Ultrastar and Vid Atlantic front and rear clamps if you want the best quality/price ratio
You just won't get anamorphic flares (but you can force them by using a cheap ND filter on the front) and it will be dual focus (but most of the times, you can get around it with some time and patience)

PS : don't pay more than $200 for an Ultrastar at it is the usual "low" price for it. 

That's right they did the same thing with the crop mode feature.
I love how none of the usual blogs like c5d have run the story because they lack the capacity to figure things out... non-users will have a hard time believing this for a few days.
Try the 3840 x 1600!
1.5x crop is much easier to work with than 2x crop on EF mount as you can use the Sigma 18-35mm F1.8 for wide angle duties.
None of the higher resolution modes above 1080p do Canon live-view, so it will be a low frame rate B/w image.
I will be reunited with my 5D Mark III on Thursday, until then hopefully we can answer these questions on the forum.

???4K????????????????GY-LS300CH????????4K/60p?????? | JVC

This cinema camera keeps on giving and giving. It's definitely a super contender now!


Via Google translate:

Business use 4K memory card camera recorder "GY-LS300CH"
About 4K / 60p correspondence by function enhancement

Enable external output of ~ 4K / 60p signal, realize recording solution compatible with 4K broadcast standard ~
Go to product information page
"GY-LS 300 CH"


JVC KENWOOD Corporation implements function enhancement by upgrading the version of "GY-LS 300 CH" for commercial use 4K memory card camera recorder currently on sale from JVC brand.
With this function enhancement, it is possible to output a frame rate 60p signal at 4K shooting, and in combination with the corresponding recorder, it will realize operation as a recording system compatible with the mainstream 4K broadcast standard for broadcasting business in the future .
In addition, this version upgrade is available by downloading the firmware "Version 4.0" (released from May 29 th) from our website and (free of charge) and installing it on the camera body.

Additional function by upgrading "GY-LS 300 CH"

Operation of recording system linked with external recorder is realized by adding external output of 4K / 60p signal corresponding to 1.4K broadcast standard

"GY-LS 300 CH" currently on sale has gained popularity as a camera system for 4K / 30p recording, but by applying this firmware, domestic broadcasting company companies set it as the standard of 4K broadcasting Also for 4K / 60p signals, it enables output from the main unit HDMI terminal. ATOMOS integrated monitor recorders "SHOGUN INFERNO" and "NINJA INFERNO" correspond to the recorded 4K / 60p signal recording * 1. In addition, the camera side is equipped with a dedicated REC trigger enabling recording control of "SHOGUN INFERNO" "NINJA INFERNO", realizing operation as a portable recording system.
※ 1: As of March 24, 2017. An optional SSD memory is required for recording.
2. 4: 2: 2 sampling record of 4K / 30p, 4K / 24p possible on SD card

Up to now, sampling at 4K recording was only 4: 2: 0, but with this version up, 4: 2: 2 sampling recording of 4K / 30p, 4K / 24p is possible on the SD card mounted on the camera It becomes ※ 2.
* 2: In the 4K 4: 2: 2 recording mode, the image output from the HDMI / SDI terminal is HD signal only.
3. Additional function addition

· It is possible to use it even when the camera operation by web browser is 4K / 30p (or 4K / 24p) recording. (Conventionally available only when recording HD).
· You can use the network function * 3 by connecting the machine to a computer or tablet via a network and using a web browser.

* 3: In the 4K network function effective mode, the image output from the HDMI / SDI terminal is HD signal only. Also, among various network functions, streaming function can not be used.
About ATOMOS "SHOGUN INFERNO" "NINJA INFERNO"
 
heres the link for the posting http://www3.jvckenwood.com/press/2017/gy-ls300ch_v4.html