Justin Bacle

I may be the only one to think like this but to me, this looks very clean (at least once youtube compression is applied).
This 3200 Iso looks better than any of my cameras does past 800 iso :D

Hey 2011 called, it wants its forum post back!

Wait... I closed the thread when it got too political.
And this guy comes on, reopens another political thread and rants that he wants to stop.
Yep.... makes perfect sense to me.

It is! Even shooting spherical. 
In the zoom test I used the full range. On the teaser, 35 pretty much covered but was too distorted and wide for most of the content. The big stationary wides were 35-40. 

That is funny, fuzzy. Normal. Right? Makes uber sense and fun to stick around here and even more keep contributing due to cool people 
ideas and vibes in this place. Thanks to Andrew who built this community and spirit and opportunity. So, Fuzzy, you´re spot on. And because of guys
like you this forum is spot on. A great place to exchange and find inspiration. Thank you, Andrew!

I tried to find this already. As you say almost all have some issue or two. All will extend pretty much and if they don't the front will rotate. Let me know if you find one. A few Olympus lenses get close.

Check out the test video of the Rapido Single Focus Solution, my setup is as follows:
Camera: GH4 Taking Lens: Rokion 85mm T1.5 Cine Lens for CANON Anamorphic Lens:  KOWA for Bell & Howell Anamorphic Clamp: Rapido V2 Clamp ISO setting: 1600 Shutter speed: 400 Aperture: T1.5 Video format: MOV, FHD Aspect ratio: 3.556:1 (1920:1080 with 2X anamorphic squeeze) The minimum focus is 1 meter. Different anamorphic lenses are used as focus targets,  set between 1 meter and 2.5 meters from the camera.  The video shows racking focusing from close focus to infinity.
The aperture is kept wide open at T1.5. There is no sharpness drop comparing to the original Kowa & Rokinon combination, and there is no change of the original flare/bokeh character from the anamorphic lens.  This is the main difference comparing to other Single Focus Solutions, like SLR Magics, FM Module, and Rectilux.
More test videos will be uploaded soon.
Youtube video is here: https://youtu.be/h96fqNsKpEI
Vimeo video is here: https://vimeo.com/206798264  (better resolution)
Music: Cloud by Ehrling, link: https://soundcloud.com/ehrling/ehrling-clouds

Great, I think we just need to calculate the shipping price, and we're good to go  I am located in France. I'll send an PM with my full adress

Hello forum from RUSSIA.
I do anamorphic cinema system for the nozzles on the basis of 35-NAP - PAS SiNGLE
This will be the single focus!
front lens movement coordinated with the movement of the focus lens ring.
So how will the electronic control on the Arduino, it is possible to use different lenses almost without limits!
For each written their own program.
Here are the first tests already working focus system.
The next stage of development is to increase the speed of movement (refocusing) and the finalization of the project.
 

Yep. So much for a new pocket.

I'd pay $1500 for a 2+K pocket with better battery and 60+fps. Remember BMMCC + Monitor = at least 1500 for an okay set up.

In theory, it is worth that price because it is a professional-grade anamorphic prime lens, and similar lenses from Lomo and others have been going for about $8k. However, I think the value of this lens should take a hit because it is, of course, a one-off. The chances of building a complete Agascope set are slim to none, So that makes this lens a curiosity, rather than a functional cinema lens, and it should be priced as such. I would put it at $4-5k.

It is an AgaScope lens. It was built by a Swedish industrial firm during the widescreen craze of the late 50s/early 60s. It was mainly used in Sweden, although some sets made it to Eastern Europe. The set was fairly sparse and included a 46mm and a 75mm. There weren't any zooms or wide focal lengths available, so the modern day appeal of these lenses is limited. Quality should be on par with other early anamorphic systems of continental Europe like Dyaliscope or Totalvision.

This. Very much this. For bread-and-butter I've been pigeon-holed into filming and cutting speaker events, and the mundane nature of it has been draining to say the least. These days I don't look forward to editing anymore. Hopefully, given a stable income and some space I can re-cultivate creative projects again. 
Yep. 1080 will do just fine, though I wouldn't really want less than 60fps overcrank! The GH4 became tempting to me this last week due to the 96fps. We'll see how it goes, can't move to another cam if this one doesn't sell, making it a moot point.

the good thing about having video as a "(financially) second" occupation is that you don't have to work on "crappy" videos. You get to choose more according to your likings  
It is a kind of freedom very valuable to me, even if you get less available time than the other videomakers 

I have a full time job myself and make videos too. Don't worry, it is not impossible. You just have to be very organised and reserve moments for video. I reserve usually Saturday and two evenings on the week. 
Having another "occupation" forces you to be very efficient in the video work you're doing (and you are assured of having a paycheck).
I'am not saying it is a great situation, but just wanted to encourage you and let you know that it is possible to mix jobs. (Plus you never know, they might need some video in you full-time job. Never say no to opportunities )

I think his blog is something like the fifth most influential in this field.

100% Agree with this, I run with an F3 (S-log) + Gemini 4:4:4, and they're built like bricks, never had any issues. Often my clients have difficulty re-focusing from "need 4K" to "need awesome image quality", but after the shoot when I start going through the dpx footage, all debates stop. Biggest downside for me: It's a light cinema camera, but it still heavy as a cinema camera compared to stuff like the C100s. I'm usually a one-man band, so that means a lot more work, but if that doesn't bother you, I can't recommend better IQ for the price. In addition, the native FZ mount can adapt to pretty much anything other than E-mount for the price of a cheap adapter. 
 
My reel, shot mostly with available light, with this rig for demonstration: 
 

I would invert your list as Magic Lantern raw has nowhere near the dynamic range of Black Magic or Digital Bolex's cameras

Like i said... i seriously don't care if there is a small crop, as long as it works. It's an s35 sensor... a small crop is hardly life changing.
A small crop on the xc10 is much more serious due to the small sensor... yet i still dont care... because it works!
The g85 cant have magic lantern... so no point thinking about it in terms of my original post 

Agreed.  Raw is great to have, but I've never really needed anything more than 10-bit, 4:4:4, flat and at a nice resolution.   A lot of the time, even that is overkill.

Many people can, and do. Myself included.

What about a sony f3 with external recorder? I've been experimenting with mine a lot lately and the image is really nice, great color and dynamic range. The 10bit pro res files are very easy to work with. It also has good audio and internal ND filters. 

I've never really been interested in Dual ISO because of the aliasing and moire.

Get a front clamp and a diopter  (+1 are easy to find and quite cheap)