mirekti

1 hour ago, whoisjsd said:

The issue I have is that for him to get that FOV he'd have to be using a 35mm taking lens on the speedbooster

Maybe he was mistaken when he said he was in 30ish range, because I reached out to him and he replied what his setup was: Metabones 0.71 M43-EF -> Leica R to EF adapter -> Leica R Summicron 50 -> Rapido V2 Clamp -> Kowa 16-H -> Rectilux Hardcore DNA

Cheers and thanks!!!

13 hours ago, whoisjsd said:

The only true wide anamorphic is cinema glass 

I forgot to ask about this. I see SLR magic has Cine line of prime anamorphic lenses.

So if I shoot a video on GH5S with their Cine 35mm, would this eventually give me 35mm FF FoV or 70mm?

Thank you for all the info. I wasn’t aware there was so much drama, but I understand it. Especally if all above is true.

11 hours ago, whoisjsd said:

I don't know of any 2X anamorphics that can work at 20-25mm FOV on a GH5/s. Best I can do is around 45-50mm with a pancake.

In this video Jacob claims 30ish FOV.

https://www.youtube.com/watch?v=1Hw8Qok2IAE

I plan on buying Isco Micro Red single focus with SuperScope from Ebay and use it with GH5S. I might change my mind, but don’t see any other full solution at the moment and not sure I’d be able to set it all up by myself.

2.39:1 is what I am after. I have already bought 44-2 58mm and have Kipon speedbooster 0.7x which I plan on using with Summicron-R 50mm.

I am having trouble understanding what determines the widest I could go. Tried to use calculator on the Isco’s seller website, but it was very confusing. For example the site claims if one uses 50mm on FF, and add the setup I plan on buying, it would give us 16mm FoV, yet when I put these numbers in the calculator on that site it says such combination wouldn’t work. 

I would really love it if I could make 20-24mm with GH5S, but not sure this is possible with the planned set.

Also, I wondered how much of an impact front element of taking lens has in my setup. A week ago I tried SLR Magic 1.33x Compact 40 on a6500 and it worked with Sony’s 20mm f/2.8 pancake, only very, very small portion of corners was darken, whilst 24mm f1.8 was almost not usable yet 4mm wider. Do you think Leica M glass would work well given their small factor?

Have I made a mistake by choosing MFT format and trying to go wide anamorphic?

Even if I did, I really hated rolling shutter on a6500 and assume the same would happen with a7.

Any help and comments/critique is more than welcome.

On 5/16/2018 at 11:42 AM, ken said:

Believe or not, Moondog lens for iphone is the least distortion lens and widest too I have ever used.  

 

I used to own it, loved how wide it was.

On 2/8/2018 at 12:06 PM, Bold said:

I do!  I will be selling it as soon as I finish building the website (which is taking a little longer than I hoped).  Some key differences between my design and the other guy's version:

• Mine isn't made from ridiculous red 3D-printed plastic.  The housing is made from anodized black 6061 machined aluminum that I had commissioned.
• I disassembled, degreased, and re-greased the helicoid with superior lubricant.
• My mod includes my custom-built dual-bracket 15mm rail support clamp.
• My mod doesn't require re-alignment when switching lenses.
• I don't cut corners or try to hide anything. I make no secret that this mod wouldn't have been possible without the help from the good people on the EOSHD forums.  I make no secret that you can build this mod yourself (you can read my development thread here).
• My mod is a turnkey solution - it doesn't require an overpriced, threadless 3D-printed lens clamp.
• My mod will be selling for less than his. 

Side note: Like Carlo, I've also found John Barlow (Rectilux) very helpful and quick to respond.

I was browsnig for anamorphic and just read this. Has there been any development on your ideas above?

Could someone tell me which Leica lens is this?
https://www.youtube.com/watch?v=1Hw8Qok2IAE

Can someone explain what is optimized in Pro S-Log? I was under impression S-log2 is the way to go, but given the number of LUTs it seems Cinema is more preferred.

Also, how many stops of DR is in Pro Cinema vs Pro S-Log?

Also, in many videos people change details to -7 for 4k, but due to soft 1080p bring it back to 0 when shooting FullHD.

Should I also adjust it this way i.e. one PP for 4k, and the other for FullHD using instructions from the pdf yet setting details to 0 instead of value recommended in pdf?

I was thinking of buying the log package, but was wondering if it covers usage of ND filters. 
For example, I will be using Tiffen Variable ND filter and one of the things ND filters do is adding some color shift. 
Does PDF document covers white balance setting in respect to the ND filter and/or different color setting for log when filter is in place?

10 hours ago, DaveAltizer said:

I made this profile before the EOSHD Sony 3.0 profile was out. If you want the best image use his profile. It looks the best. 

Cool. Do you perhaps know if EOSHD Pro Log document was done under assumption the footage would be 1-2 stops overexposed as Slog2?

I was thinking of putchasing Pro Log just to have a good starting point with Slog2, but grade using ACES in Davinci.

On 6/29/2016 at 2:42 PM, DaveAltizer said:

Bro. I have found the best profile! I've shared it with so many people because they all want it it's so good.  it's got a very "Canon" look to it and it grades so nicely. It really adds a ton of depth to the image that lacks in the normal Sony profiles. It's all about that "color depth". 

THE SONY PROFILE

Black Level: 0 (it's disabled in s-log2 anyway)
Gamma: S-log2
Black Gamma: Range- Narrow, Level -7
Knee: auto
Color Mode: sgamut3.cine
Saturation: +32
Color Phase: -2 (this is for a7sII and a6300, for original a7s use -5)
Color Depth: +6 (all of them)
Detail: -6

Expose 1.5 to 2 stops over.

You may need to dial the green tint out in the white balance shift. Let me know how you like it. I found this profile somewhere on dvxuser and have fallen in love with it. Now all my friends shoot on it 

Isn't increasing the saturation and color depth actually reducing the dynamic range?
I was thinking it was supposed to be left at default values, adjusted in post, and the only and most important thing about sLog2 is to overexpose by 2 stops.