Jump to content


  • Content Count

  • Joined

  • Last visited

About Julien416

  • Rank
    Obsessed with anamorphic

Profile Information

  • Gender
  • Location

Contact Methods

  • Website URL

Recent Profile Visitors

876 profile views
  1. With a rectilux HCDNA, the widest you can go in S35 is 50mm in 1:2.39. So one should probably be fine with a 35mm in micro 4/3
  2. I'v been told they're mostly going after the Nikon Z6 and Z7, so I guess it shouldn't be too long. They told me a former version of the firmware could push 4K120, but it has been removed for some reason. Nope. The guy using it is a first hand acquaintance.
  3. There are two iterations being tested, one with a 45ish megapixel sensor and another one with 75 or 100 mpx. It's vague I know, but I absolutely can't remember, I am sorry.
  4. I think it shouldn't be that long. I know someone who is a Canon tester photographer and he is currently testing a Canon mirrorless camera that ticks all those boxes... They even have prores raw through hdmi. The price though is yet to be discovered. And the release date as well.
  5. Varicam is 16:9 but it has an anamorphic mode that puts the 4:3 crop around the size of the GH5 open gate sensor. In 4K. The problem with legacy anamorphics on the LF is that the pixel density doesn't change, so no 4K. We are stuck with the good old 2.8K, hence no Netflix . Of course, the varicam is really not a perfect solution as it's a crop mode, but I have used the panavision AL in anamorphic mode on the varicam with great success for some very dark scenes where we needed the 5000 base iso. Loved the look, and managed to match them with Alexa footage without too much hassle. As for the Pana lenses, they only come in PV mount unfortunately. I have almost tried them all. They really mean business, it's really addictive. In France they are not THAT expensive. Probably a lot cheaper than renting them in L.A.
  6. The revenant wasn't shot entirely in Arri 65, IIRC the majority of it was done with regular alexa's. As far as I am told, the sensor on the LF is exactly the same sauce, they just stick two of them (3 for the Alexa 65). Maybe it's the added resolution that bothered you. Well, let's say that in spherical there MIGHT be a lot of FF options... But when it comes to anamorphic, which represents a fair share of the professional productions, there isn't that many options. Old anamorphics covering the 29/30mm of FF 4/3 aren't that many I am effraid... Of course many of us will be forced to use LF if we want to bring the arri look to Netflix, but as much as I love the Alexa look, I think I'd switch to Varicam instead of letting go my precious Panavision anamorphics that won't cover LF...
  7. The problem lies in the lens selection. DP want textures and look, and there isn't so much choice in vistavision for now. I am pretty sure everyone and their mothers will soon rehouse all the old FF glasses available to give a nice selection. But the sad truth is that it will solely be stills glasses, with all the caveats they bring (breathing for one). And in some particular case, like anamorphics, the old and legendary glasses will still be only available in S35. The folks at Panavision told me Arri was about to come up with something new in the S35 segment. I said "4k?", they answered "Higher". I guess we'll see;
  8. Julien416

    Z CAM S35 camera

    Let's hear about anamorphic modes and rolling shutter 🙂 But even in the current state, it's kind of tempting. However getting it in Europe looks like an adventure of its own so I guess I'll pass until they have proper distribution.
  9. The longer focal length are indeed a PITA. But with a 50 or 58, or even 85, you can honestly have a quite practical and manageable setup if you combine your diopter with the metal jackets from rapido technology. It weighs about 1.7 kgs which is not that different from any (small) anamorphic cinema lens. But obviously it's a little longer and it's quite front heavy because of the rectilux. @Tito Ferradans The Square front are very nice, but I hope you like optical flaws (and mumps for the 35mm) because they are full of it :)) Flares are exceptionnaly nice though.
  10. I really don't get the hate for the hypergonar. There are six different iterations. Tito only tested one, the biggest and latest, and honestly it looked kinda good even though the lens looked misaligned. I have the first iteration, the rarest, the glass is larger than the rest of the bunch. I guess I was fortunate to get it. And even though it's not in the best shape, it's probably one of the most organic and best anamorphot I have. And I do have a LOT of them, Kowa 16h, Kowa B&H, dyaliscope junior, kowa 16D, Cinelux, ruralscope... You name it. But the hypergonar is definitely one of my personnal favorite. Soft yet sharp, a lot of anamorphic characters, blue flares. And small. Tito has been more and more critical of the old anormorphic projection lens. I kinda get it. But honestly, on a TV series I am directing, I have been intercuting shots taken with my Hypergonar 16 / rectilux combo with shots taken on Panavision B series and no one ever noticed the difference. The old cinema anamorphics are REALLY soft and full of flaws, and not that different at least image wise from a GOOD projection lens combo. And I've shot with a LOT of different cinema anamorphics when doing commercials. Of course, in practical terms of course they are not in the same league and that's probably why Tito can't be bothered with projection lens anymore
  11. I am sorry to break it to you, but what you're looking for already exists. It's called a GH5 or a GH5s. Those colors that you don't like can be tweaked with luts and color grading. Instead of losing your time trying to find something that doesn't exists, you better buy what's available. By the way, you're forgetting the Z cam E2 that looks pretty cool. It also has a M43 sensor with an anamorphic mode. By the way, I've bought my fair share of those focal reducer, and honestly the only ones that really impressed me are the original speed boosters, the other ones are either too flimsy to attach a 2kgs anamorphic lens, or simply optically inferior.
  12. What you're asking simply doesn't exist. There's no such thing as a x0.85 speedbooster. You want super 35 4 perf size? Get a x0.71 speedbooster and a m43 sensor, end of story. For info, on the Alexa in 4/3 mode, the sensor is actually a little smaller than a speedbooster m43 (23.76x17.83mm) and no one ever noticed the difference with s35 4 perfs. I use it all the time (the Alexa that is) and even crop in it when necessary... And no one ever complained either... I also own a speedboosted gh5s and anamorphic glass and couldn't be happier.
  13. Couldn't have put it in a better way. To see an example of a coupled anamorphot to a taking lens, you might to check this link , it's in french and it's about the Franscope system, but the pictures are self explanatory. And I'm also very curious to see this Möller in action.
  14. I am not sure to understand what you really are looking for but a base plate and some 15mm rods paired with a lens support will probably help you. You might want to add a rapido technology metal jacket ensemble to wrap your setup. I went this way and never looked back.
  15. There was a topic about that rumour last year. Seems it was deleted by Jon who was a still moderator at the time. Because this rumour was disturbing I tried to retrace where it was coming from. A lot of the original messages involved got erased but here what supposedly happened from what I was able to gather online. Last year on reduser forums, when the atlas Orion were announced, John Barlow from rectilux posted some mail exchanges between him and the guys behind Atlas that had taken place months before. They were asking John how much it would cost to rehouse shneider cinelux anamorphic projection lenses with a rectilux. The deal never got through but when Atlas showed their Orion lens, the lens signature was so close to a shneider cinelux coupled to a rectilux that a lot of people in the very small anamorphic world asked themselves if they had not done a rehousing with another partner, hence the barlow mail leaks. The thing is that the technology Atlas used to focus its anamorphic group is called a variable diopter. The same exact method used by rectilux. However this very simple technology is widely used in the anamorphic world and doesn't belong to John Barlow. I am pretty sure the new cooke anamorphics use it, the iscorama also used it - it was even patented - and I know it was also used back in the 50's in some exotic french anamorphics. Let's say this clue is inconclusive. Another thing to add is that it's highly unlikely to imagine Atlas buying all the cinelux online and rehousing them. But still. There were some messages between Barlow and the Atlas founder unless the former is lying. So what really happened ? My personnal opinion, which is absolutely not a fact, is that Atlas might have have been inspired by a cinelux / rectilux combination to built their prototype with a third party partner (let's say a chinese optics factory). But the housing is undisputably 100% atlas, glasses are also 100% cut from brand new optic glass. There is no way it's a rehousing. I bet the coating is a new formula as well. Remains the optic formula which is nothing new, as anamorphics is simple as it can be by today's standards. The truth is we will never know. Everyone is inspired by other's people work so I have no problem living with the small possibility that Orion was inspired by cinelux lenses. It kinda looks the same but it looks great, and the housing looks genuinely good. It's certainly more expansive than buying a cinelux and a rectilux but you won't have to deal with fishy clamps ... Sure anamorphics cine lens are way too expansive but that's the way it is. High demand, etc. Fun fact : 6 or 7 years ago, a DOP I know bought a kowa anamorphics series for 5000€. You'd be lucky to get it under 50K nowadays...
  • Create New...