CfFilmmaker

Had a similar issue with my Elmoscope II, turns out the focus ring was bent in making it a hell of a time to unscrew. Cut my fingers on the threads a few times but was able to use a cut up tennis ball to give me the grip I needed to wrench it off. 

Had a similar issue with my Elmoscope II, turns out the focus ring was bent in making it a hell of a time to unscrew. Cut my fingers on the threads a few times but was able to use a cut up tennis ball to give me the grip I needed to wrench it off. 

Please share some actually shot footage with that setup if you have any. Curious too see what kind of look you have managed to get out of it.

New to the forum but been a very long time creeper.
Heres my v2
 

8mm anamorphic run and gun with Baby Hypergonar 1.75x , Bolex 8/19 1.5x , Kowa 8 2x + ProtoDNA 


 

 

Sankor 16c with an SLR Magic Rangefinder in front of a Nikon 50mm 1.4

Sin título23

Here is the probably the cleanest thing I have shot (a7sii, iscorama pre-36, Nikon 50 1.8): 
 
and here is just a montage from my old anamorphic set up (sun 2x, rectilux):
 

Have to add this here because I think there's some confusion on crop factors, lens focal lengths and 4:3 shooting modes. 
First misconception I see is that "not having a 4:3 shooting mode means you are loosing resolution if you shoot 16:9 because you crop it later". You aren't, in fact. If you do the pixel math you'll find that either way, you are cropping the same amount to reach your desired aspect ratio, the only difference is one is being cropped by the camera to create the 4:3 and the other you are cropping in post. Though the BMPCC 4k doesn't yet have a 4:3 mode, you can still use 4:3 guides to help you see what you need to keep in frame ensuring you don't crop things incorrectly in post. In fact I'd say shooting in 16:9 is awesome because you can reframe things horizontaly if you need to. If you have an external monitor that can do 2x desqueeze (like this one here for $110 http://www.cinemartin.com/monitors/7inch/loyal/lt/)  that's even better to use with those guides.
Second misconception is that "anamorphic on full frame is worse compared to anamorphic on a crop sensor because you can't use wider lenses thus limiting your field of view". Your field of view on any given anamorphic is set based on the lens you choose. I'll give an example:
The Kowa 8z clears full frame 2.4:1 with a 50mm lens. That same Kowa on a m43 sensor can be used with a 25mm lens. If you take into account the sensor's 2x crop factor, it has an equivalent field of view (assuming no speed booster is used). This means that the only difference between anamorphic on full frame and on crop sensors is what taking lenses you have or are willing to buy for the anamorphic. Some of the best 50mm 85mm, and 100mm vintage lenses can be had for less than $60, so this wouldn't be a barrier to me. Since the camera body is the most expensive part of the process, start there and you can get the rest to work with it. 
One final thing to add is a note on the nature of anamorphic footage and their added field of view. Tito Ferradans mentioned this once on a forum and it blew my mind! Anamorphic lenses squeeze vertical information into a smaller area that then gets decompressed later. This means that if you are shooting on a 2x anamorphic, your horizontal field of view is going to be 2x as much as a normal lens that focal length. To use my earlier example, a 2x Kowa 8z with a 50mm taking lens on a full frame actually has a horizontal field of view equal to a 25mm lens! Kind or crazy. So don't flip out if your anamorphic requires an 85mm lens to clear vignetting, you actually can see a lot more than you think.
Hope this helps anyone who's trying to make a decision on what to get! Anamorphic lenses are about feeling more than they are logic. It's not logical to carry around a train of lenses, diopters, filters and single focus modules along with all the other film gear we use. There are so many modern lenses and cameras that you can point, shoot and get great results. Anamorphic is a decision to do something the hard way because of how it feels, both to us, and if we do it right, to our audience. 

Kowa 8z inside FocusModule. Taking lens 90% of the time Minolta pancake 45mm f2. Shot with GH5.
Also done in extreme conditions. We shot the night scenes in -25 °C weather. And we had all those practical effects to do IN location. All our blood pumps broke and we couldn't shoot fake blood as much as I wanted. But that's how it goes sometimes...

Shot on the GH5 with a Sankor 16c in front of a Nikor 50mm f1.4

That makes total sense. In a business environment- which I think most of us would like to find ourselves in if we can make it happen- it's not practical to jump through that many hoops for something a lot of clients frankly don't even notice. (unless you've been hired specifically for it) Those square fronts are going to be sick! How long until you think you'll be able to get them?
 

That makes total sense. In a business environment- which I think most of us would like to find ourselves in if we can make it happen- it's not practical to jump through that many hoops for something a lot of clients frankly don't even notice. (unless you've been hired specifically for it) Those square fronts are going to be sick! How long until you think you'll be able to get them?
 

Sci fi short, shot on Iscorama and Contax Zeiss taking lenses + Original 2.5K BMCC

I'm really curious to see what you guys have been able to make with your lenses! Let's see your stuff! Doesn't have to be finished, or really have any structure, just some footage you've shot! Post it here and leave the setup you used in the description! 
I'll start, I shot this wedding with an Ursa Mini 4.6k, a rokinon 50mm T 1.5, Rokinon 85mm T 1.5 a Schneider Super Cinelux and a Rapido FVD-16A variable Diopter.
https://drive.google.com/a/kimhaskell.com/file/d/1CdLZc746FEAo-j6fRRfyh4nxUZQIpOh3/view?usp=drivesdk
 

I'm really curious to see what you guys have been able to make with your lenses! Let's see your stuff! Doesn't have to be finished, or really have any structure, just some footage you've shot! Post it here and leave the setup you used in the description! 
I'll start, I shot this wedding with an Ursa Mini 4.6k, a rokinon 50mm T 1.5, Rokinon 85mm T 1.5 a Schneider Super Cinelux and a Rapido FVD-16A variable Diopter.
https://drive.google.com/a/kimhaskell.com/file/d/1CdLZc746FEAo-j6fRRfyh4nxUZQIpOh3/view?usp=drivesdk
 

Depends on how small you need it to be! Here's a few setup recommendations from my experience.
 
1) The Anamorphot 50 with the Rangefinder is a classic setup, and the flares work well together. The full kit can be had for less than $800 if you wheel and deal on ebay. If you stay stoped down and don't use lenses with long focal lengths (85mm+) that is a great one to start with. People make a deal about it not being sharp due to the Rangefinder, but at the right aputure and focal length settings, it does a great job.
2) If you don't mind getting a little bigger, the Kowa prominars are all awesome. I'd recommend most iterations of them. These are around $350-$750. They are fairly compact and sharp. They also flare nicely. If you get one with blue flares, which will be most of them, the SLR magic plays well with them.
3) If price is your main concern and you don't mind going bigger still, the Hypergonar Hi Fi 2 is about as much Anamorphic character as you can pack for less than $200 The flares are golden and have an excellent pattern, the footage is organic, raw, a litttle distorted, and a little soft wide open, though the lens can get sharp with the right combo. Don't go for a Hypergonar S.T.O.P. though, as you know Tito isn't a huge fan. 
Other lenses worth a little research are the Proskar, Aivascope, Isco Ultrastar, and the Schneider Cinelux. My biggest recommendation is that you order yourself a Rapido FVD-16 variable Diopter. Great sharpness, not flare tinting, and a front filter size that makes much more sense than a Rectilux. It goes for $550 currently too. You can go for one of those Isco Kits on ebay, but you'll pay for convenience. If you've got the money though, the single focus system is sharp and not tinted as well. 
That's what I got! If you have any questions reply and I'll see if I can answer!

Well, i store anamorphic and taking lens rigged together with rods and supports. And this way i really dont move it so much.
You can see i use 2 long lens supports: one blocks the taking focus and the other one block anamorphic aligment and focus.

Have to add this here because I think there's some confusion on crop factors, lens focal lengths and 4:3 shooting modes. 
First misconception I see is that "not having a 4:3 shooting mode means you are loosing resolution if you shoot 16:9 because you crop it later". You aren't, in fact. If you do the pixel math you'll find that either way, you are cropping the same amount to reach your desired aspect ratio, the only difference is one is being cropped by the camera to create the 4:3 and the other you are cropping in post. Though the BMPCC 4k doesn't yet have a 4:3 mode, you can still use 4:3 guides to help you see what you need to keep in frame ensuring you don't crop things incorrectly in post. In fact I'd say shooting in 16:9 is awesome because you can reframe things horizontaly if you need to. If you have an external monitor that can do 2x desqueeze (like this one here for $110 http://www.cinemartin.com/monitors/7inch/loyal/lt/)  that's even better to use with those guides.
Second misconception is that "anamorphic on full frame is worse compared to anamorphic on a crop sensor because you can't use wider lenses thus limiting your field of view". Your field of view on any given anamorphic is set based on the lens you choose. I'll give an example:
The Kowa 8z clears full frame 2.4:1 with a 50mm lens. That same Kowa on a m43 sensor can be used with a 25mm lens. If you take into account the sensor's 2x crop factor, it has an equivalent field of view (assuming no speed booster is used). This means that the only difference between anamorphic on full frame and on crop sensors is what taking lenses you have or are willing to buy for the anamorphic. Some of the best 50mm 85mm, and 100mm vintage lenses can be had for less than $60, so this wouldn't be a barrier to me. Since the camera body is the most expensive part of the process, start there and you can get the rest to work with it. 
One final thing to add is a note on the nature of anamorphic footage and their added field of view. Tito Ferradans mentioned this once on a forum and it blew my mind! Anamorphic lenses squeeze vertical information into a smaller area that then gets decompressed later. This means that if you are shooting on a 2x anamorphic, your horizontal field of view is going to be 2x as much as a normal lens that focal length. To use my earlier example, a 2x Kowa 8z with a 50mm taking lens on a full frame actually has a horizontal field of view equal to a 25mm lens! Kind or crazy. So don't flip out if your anamorphic requires an 85mm lens to clear vignetting, you actually can see a lot more than you think.
Hope this helps anyone who's trying to make a decision on what to get! Anamorphic lenses are about feeling more than they are logic. It's not logical to carry around a train of lenses, diopters, filters and single focus modules along with all the other film gear we use. There are so many modern lenses and cameras that you can point, shoot and get great results. Anamorphic is a decision to do something the hard way because of how it feels, both to us, and if we do it right, to our audience. 

Way cool, love the LUT.