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Everything posted by whoisjsd

  1. It's mostly focus-though. I have to use diopters for anything close. The compact has a near/far setting. Unless you need single focus for the full range, it should work fine. I would not put a Rangefinder on it. The regular 40 with built in rangefinder will do that, but I'm not sure what kind of lens you need to clear it. I also, personally, don't like the regular 40 or the rangefinder. The 40 compact is the only thing I have seen recently from SLR Magic that I have seen good results with overall. (compared to all their other 1.33 lenses anyway)
  2. I just edit in 2x in Premier and then export the timeline to After Effects. You can make a custom Aspect Ratio setting in the Interpretation Rules.txt file. Other than that, you have to do resizing. The Aivascope is 5824x2496, or 3328x1426 when properly squeezed/stretched using the GH5's 4K anamorphic mode. I'm guessing with other software it's resizing. i want to try Resolve with it eventually so I'll figure out that when I get there myself.
  3. I have the G7, and I have a 1.33 Anamorphic that the SLR Magic Anamorphot 40 Compact is based on. It should be similar. 20mm should work, especially with the G7's 4K crop. This is the COMPACT version I am talking about. The regular SLR Magic 40 is something like 25-35mm I think.
  4. The coating on the Möller is special. I highly doubt anybody can match it unless they have the original "recipe" from when it was made. You might be able to find somebody who can do something similar, but I doubt there is anybody out there that specifically knows how to work with old anamorphic glass. I did a quick search here in Japan on Google and didn't really find anything, but I'll post an update if I do. Anybody who knows German should check the German sites too. As for aligning the Möller, yes, you need to get the glass 90 degrees in the rear. If you remove the front glass too, be
  5. None. In 2X there isn't anything that the RX100's zoom can reach past without vignetting. I shot 1.33 and 1.75 with the RX100 IV when I had it, but you need special support rigs. There is no portable RX100 solution for anamorphic, other than MAYBE the Beastgrip 1.33x and a magfilter, but you're looking for something 2X. You're only hope is to find one of the rare 2x mini scopes or an Aivascope and 3D print a special support for it. I gave up on doing this myself because it wasn't worth the work. (That and I had to sell my RX100)
  6. Also, I'd like to add that ETC in 4K and anamorphic mode was apparently added in firmware v1.1... I could have sworn that I read that it wasn't working or unavailable somewhere. I will have to test it out this weekend.
  7. ALSO: Everyone might want to be wary of this guy selling his B&H... www.ebay.com/itm/172844415766 He's using one of my photos as a lens sample. Sketchy. Just contacted him telling him to remove it. EDIT: He removed it. still....
  8. Exactly the answer I was looking for. I had always wondered what they used for those. I have heard bad things about the guy so I really don't want to buy from them. But I have taken interest in this project, as I'd like a nice single focus 2x anamorphic and I don't mind working on my own. Too bad the prices on these have gone up so much. Good luck on your progress! Excited to see the final results.
  9. How is infinity? Do you think this discovery could work on other anamorphic applications?
  10. Now, I am in no way disappointed with the overall update stats. They're amazing. But there are a few things that really irk me that seem like they should be offered as long as they are stable and possible. 1. I am very happy with the desqueeze setting... but why leave out 1.5x and 1.75x? There are 1.9x lenses out there too. Just seems like something that should be an easy tweak to what they have. 2. No VFR anamorphic mode. I was really hoping for a lower resolution anamorphic mode that can do at least 120 fps. The lack of more VFR options in this update is super disappointing. All th
  11. Taking apart anamorphics is not fun, especially older ones. You will have to big roadblocks: Alignment and brass screws. Some lenses are easier than others. Some lenses come apart easily and can be aligned easily (Isco Ultra Star, for example) But if you hit a stubborn lens, you can make it worthless with the wrong turn of a lens wrench or screwdriver. I have come across brass screws that are butter-soft and strip/break the moment you apply the slightest pressure. It's annoying and scary. I haven't taken apart a 16-D yet, so maybe somebody here who has tried can give better insight.
  12. This was a pain in the ass to make. I was getting impatient waiting for the next GH5 update that should give us full resolution Anamorphic Mode. The 6K Photo mode uses the full sensor and gives you a massive 4992×3744 30fps video file. Only issues are that you lose a lot of image control (No Cine-D) and it's recorded in H.265. I had to use Handbrake to convert all the files before I could edit them. I had originally planned to do this with 5.1 audio, but my mic setup failed miserable. Might have been the heat, as it was hot, humid, and hazy. Not the best conditions for shooting, but
  13. Update: Found out this is very common with many high speed modes in cameras. I just happen to live on a street with wires that amplify the effect. I eventually found other GH5 and Sony footage with the same issue. That said, I discovered using my 1.75x or even my 1.33x anamorphic got rid of most or all of it. I guess the key is no vertical sharp/small lines whatsoever.
  14. So, I recently purchased a GH5 and I'm having an issue with some of my tests. Anything with small wires or sometimes even sharp edges becomes pixelated when the camera is still in 180fps mode. It is driving me crazy and I'm wondering if I am doing anything wrong. Normal 1080p 60 fps does not give the same results. The first clip shows the camera moving up and down. When it settles shooting straight forward, the wires become pixelated. It does not do it in the second shot at 60 fps. The third shot is on a gimbal and it's constant in the shot. What am I doing wrong? Or
  15. Actually it's a f/0.79 on the Speedbooster XL (if the numbering is right... I thought the XL was 0.64) I want to get the Yashinon Tomioka 55mm 1.2 for my M42 Lens Turbo II some day. That would be a f/0.85.
  16. It's huge. Looks about the same size as some of the Lomos. That's a good price if you're willing to deal with the size. I see no problems.
  17. @Tito Ferradans anamorphic calculator is a lifesaver http://www.tferradans.com/blog/?p=13386 Depending on the situation, I have found that OIS and IBIS can clash with front anamorphic attachments. Depending on the situation and your gear, it might be best to turn it off. I especially had issues with lenses that were just wide enough with the anamorphic.
  18. I have never shot with the XC10 so I can't say for sure. The 45-175mm is already past most anamorphic lenses at 90mm full frame. I don't have any lenses that can use the full zoom range. I think when I had an Elmoscope-II it was something around 90mm (180mm FF) even at f/5.6. As far as weight f Canon says it's OK then you should be fine. If that's a camcorder lens that people are just using, I'd still check with Canon before doing so. I shoot with my RX100 and anamorphics, but usually set focus and zoom and never really move the lens while the anamorphic is on. As far as Autofocus, i
  19. Zooms work fine depending on the situation. Your issue is going to be how far back the actual lens is from the sensor/rear element. An example: When using an 8mm anamorphic on a prime lens (Let's say my Aivascope) 28mm is vignette free. But when I use my 12-35mm zoom, it has a vignette the full length, even at 35mm. It's because when you zoom, the lens extends further away from the rear element and sensor. On the other spectrum, my 45-175mm zoom is internal, so the lens stays the same length. I can find the limit of all of my anamorphics with that lens. I first discovered this while playing wi
  20. I have been using my Nocticron with anamorphics for awhile now. Even though it can hold pretty much anything (Did some photography with the Isco Ultra Star attached and nothing else) I still use a simple rail setup when I can. Also, as far as zooms go, I highly recommend the 45-175 Panasonic zoom. The zoom is internal. It's a sharp lens and you can find the range of your anamorphic instantly. I'm gonna suggest something crazy... look into the new SLR Magic 40mm compact 1.33x... I have shot with the exact same setup you have (minus the GH5) and I have seen the same, if not better results w
  21. Unfortunately, other than getting the anamorphic closer to the lens glass, the only way to get rid of the vignette is to get a bigger and/or shorter anamorphic. The Sankor is really long (I actually have one sitting on my desk right now) and the glass elements aren't that big. You'd have to get your hands on one of the 8mm anamorphics or one of the larger 16mm anamorphics.
  22. I have one from (YOU!) Iron Glass in the Ukraine and I absolutely love it. Super clean with just the right modifications. In fact, I have been testing it with my Isco Ultra Star for a project. They work exceptionally well together.
  23. There's lots of it and not many people use it at all anymore. If somebody made a viable use for them digitally, the prices would go up. But with the exception of the BMPCC, there isn't really anything else on the market. So, anything that is specific to 8mm sits around until it's liquidated and you can get it cheap. Anything that can be used in other formats still carries a normal price. Not sure what you can get for your camera eyepiece, but look into some adapters for eyepiece magnification. I haven't used one since I last shot on 16mm 15 years ago. The Bolex I had came with one. You mi
  24. Ah, so it's a fixed lens camera. That's a pretty rough setup for a long anamorphic. At least when doing digital you have a better chance of getting double focus just right. Your setup is pretty difficult, but not impossible. i know we'd all like to have some wider anamorphics I actually had a D-mount Kowa anamorphic lens for a little bit when I was thinking about getting a Back-bone Ribcage. 8mm stuff is sooo cheap here in Japan but I can't justify it right now. Keep at it! Film will always have a special place!
  25. It has it's place for certain projects. Are you doing the processing yourself? Also, with stuff like this you get a better idea of it's usability with portraits and subjects. Everything here is so far away and muddied. If you get a chance to shoot again, get some people/animals/closer subjects and try some with a good contrast. What's your camera/lens situation?
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