mirekti

Since I have all three at the moment, I decided to make a test for my fellow anamorphic enthusiasts: 
 
http://vimeo.com/60401188
 
Not exactly scientific, but I tried to be methodical. The Iscorama is sharp wide open, but my Iscomorphot 2x has to be closed down to f/2.8 or smaller, and the Iscomorphot 1.5x really isn't too useful before f/5.6.
 
They each have their own unique character. Which image do you prefer?

There is a switchable preference for out of range detection in AF-C which is to hold at current position or move to your calibrated infinity point.
 

For manual lenses, does this work when the close up lens is added? For example my lens goes from 1.1 - infinity, but when I add a close up lens it is from 0.5m - 1m. Should I simply calibrate at different spots between 0.5m and 1m? How many calibration spots are there?
Also, what is the range in which the sensor works?

@Sage Is there a discount for Emotive Color packages if you've previously bought the LUTs for another camera? I got the GH5 set and am considering the S1 set.

Now I have to go trolling for models again! I always feel like I'm cheating on my wife when I do that. Its even worse when the girls are interested in more than just modeling.
You can turn down a meal or a drink, but turning down advances from women can get you killed or at the least, incorrectly thought of as gay, (with all due respect to the LGBTQ community 🌈 😃).

I already posted this in a proper thread in the "footage" sub-forum. But I want to add it to this collection here as well. My passion project "The Night Knows No Shore" shot with a Canon FD 85mm 1.8 and an Iscorama pre-36.
 
 

I doubt that the battery can be improved to the point that a replacement will not suffer the same problem ... lack of
current from a very power hungry camera ... the should have had an external power point ... not just the USB-C input.
However ... this may be a potential solution ...
https://www.bhphotovideo.com/c/product/1316194-REG/tether_tools_crdtap_d_tap_connector_to_usb.html
I use this to run from d-tap off my AB Gold mount batteries ... in my case I can go 2.5A to USB-C or use the Tether Tool Case Relay kit
to a battery insert ... the advantage of the Case Relay is that it allows hotswapping of the battery due to an inline small battery that charges while
you power the camera. They also have a powerbank battery that supplies 26,800mA and 87W:
 
https://www.bhphotovideo.com/c/search?Ntt=tether tools power bank&N=0&InitialSearch=yes&sts=ps
Shame to sideline such a beautiful camera ... do not expect that Leica will rectify this ... one of the reasons I sold my SL
and replaced it with a different camera manufacturer.
 
 

Perhaps as the Bolex 16/32/1.5x thread, any information and films about this 2x anamorphic lens. First short film #solo 
 

Back up for sale! Decided to invest in other glass and then this must go. In great shape. For sale with or without the diopters.

Decided to keep this beauty. Don't know what I was thinking about. 

It's 2020. Live streams. 

Anyone here using the lens from the title as a taking lens? I have just purchased Minolta SC version, and can't wait to get it as check how it pairs with pre 36. 

@HockeyFan12 Hey Matt, Proxiscope does not add vignetting compared to the original housing (I design products in a way the front lip is nowhere near the angle of view of the lens itself). I suggest a simple test – put on the old housing (good thing the rehousing is reversible and takes 5 minutes), and shoot a scene from at tripod, then put the new housing on and repeat it. That should help you life your doubts. 
Front element has to travel 6mm to get from inf to 2m. Of course to travel from 2m to 1.1 the front lens has to move more, in our case it's another 6mm. That would obviously increase vignetting and there is no work around that, but still, the front lip is so short that it's not the cause of vignetting even at 1.1m. 

My newest design Nexiscope has three times more trave, and even if the lip is 6mm deep and 72mm in diameter it's not going to vignette.

Cheers.

They are Exposure Pres, conversions made with the same interpolation system as the other conversions (converting color in the mix). Its a lot of fun to use in conjunction with the conversion. The P4Ka workflow video shows it in action in Resolve, though it applies to every NLE (and the Posts, which are an essential part of the picture):
They may be stacked in order of greatest to least, and all may be used in conjunction with gain key/opacity to dial in an exact value (Post or Pre).

The S1H is growing on me. The image is just barmy.
Cinema on a stick.
I just wish it were smaller, lighter, and ergonomically less bricky.

Please don't sand it, it's a hack, not a fix.
The tolerances on the housing are very tight, If your iscorama is warped, the plastic body is not ideally concentric around the lens helical (which is brass to brass, so no warping there for sure). What you need to do is to adjust the smaller metal ring and the way it sits around the plastic body using three small grub screws, until it's perfectly concentric. Try tightening them quarter turn at a time. It's a game of balance, and time spent doing this depends on how bad the warping of the plastic is. Just play with those screws, spend 10, 15, 30 minutes if needed, quarter turn at a time. Loosen one screw and tighten two others to move the small metal ring in the opposite direction of where the traction happens.

Alternatively you can take a caliper, measure the body in the pace where traction occurs, and compare that diameter measurement to the perpendicular diameter of the oval of the body. If the difference is drastic, like 0.5mm or more, you can try to squeeze the plastic in the direction of bigger diameter, to alter the shape a bit. If iscorama was stored on the side it could be warped that way.

It sounds a bit barbaric to squeeze the plastic, but it's the issue some of my customers had and it help them. Just be gentle. One person measured the tolerance of their rama and the difference in diameters was 1.2mm which is crazy – that polymer really does not age well, plus if the lens was laying in a box on it's side for 50 years it shows too. Also Germans chose a material that simply cannot have good tolerances even in theory – I have several iscoramas, some have nameplates that are exactly 72mm, but some have it at 72.8, and some at 71.2  – this is crazy, and some of them don't even screw into standard metal filters, simply because they're too big.

Maxiscope was my attempt to fix this issue for good, as it's a full metal body that replaces plastic, so you don't have to rely on tolerances and issues of the plastic body anymore. 
Hope this helps.

Hi @Sage any chance you working on S1H Vlog? Id love to have some Alexa colour 😁

I found it under Clip Attributes. I simply changed it to 24p and it is playing in slow motion now. Thanks.

Slanted lens did a comparison to the pocket 6k, see below. My take away is (my personal opinion, doesn't have to be yours) that the S1H colors look better and skin tones look better. Both cameras are similar and this comparison proves that anybody who claims the pocket 6k "destroys" the S1H just because of its popularity and codec are drinking the kool aid. The fact that the S1H can go toe to toe against a raw format, while also having IBIS, better battery, swivel screen AND almost more importantly for hybrid shooters also be a legit stills camera is a huge selling point. 
 
https://www.youtube.com/watch?v=rghbaHoVRsk
 
 

If you check the end of this video there's a statement this organic sensor will be used in Lumix series too, starting with the end of Olympics 2020. 

We are talking about built in ND, higher dynamic range and global shutter sensor. This is revolution!!!

Working towards it, day by day. The exciting news this week is that I wrote the engine to be multi threaded on Thursday. Now a refinement pass takes a quarter of the time, which is a substantial savings when doing many successively. It will scale linearly to the Amd 12 core coming out next month. When the website changes in a very noticeable way, in about a month or so, it will mean the S is imminent.

I'll take two!

So terrible we have to scroll past it twice.

From last summer, finally a bit time to edit. Iscorama Cinegon mounted at Voigtlander Ultron 40/2 on Samsung NX1
 

Yes, to Rec709 Gamma 2.4 (or simply Davinci YRGB for Color science). The project-level color management settings come into play when you want to conform all footage from one color space to another (with EC, the conversion does the conform). The S will come shortly after the P4K (next up)