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Had several questions about these lately, here's a more in depth breakdown: http://jeremyosbern.com/blog/2013/04/16/zeiss-ultrascope-anamorphic-lens/ I plan on shooting a project in Ultrascope later this year, using both RED and 35mm film, then comparing the two. I'll post it when it's done.

Does anyone have any opinion on these Isco lenses that vid atlantic sells from their site.  Are they worth it?  I am so new to anamorphic that I am really just trying to gather as much information before I make a purchase.  I am shooting with a 5D Mk III and so I am really looking for the right adapter to fit what I have.   http://www.vid-atlantic.com/lensshop.html

Like to share this moody short film I created. Used GH3, Kowa 8Z and SLR Magic 35mm. https://vimeo.com/64129362

http://youtu.be/y2KdP55tIz8   I took the Izukar-scope out for a little walk today and for those that are interested, this is what i came back with.   i've added a bit of a description in the youtube link, but it's getting a bit late here now, and i'm a bit knackered and a bit sunburnt :(  so i'll just copy that here,... tomorrow i'll add a bit more about what it's like to use and some pics of the lens itself as i plan to put it up for auction.       The Izukar-scope is a fixed focus x1.5 anamorphic lens made for 8mm movie cameras and projectors. Similar to the Sankyoscope, but this is a two optic system rather than a mirror system like the Sankyoscope which makes it quite usable at f2.8 with a good taking lens, kind of alright at f2.    larger apertures and it goes a bit shit since tonnes of light leaks in from the sides washing the image out, and you start getting double vision out on the sides as the taking lens lets  more light in.   Made in Japan by Ichizuka Optics, circa a long fucking time ago :)   Taking lens: Contax Carl Zeiss Planar 50mm f1.4 Camera: Panasonic Lumix GH2   Straight out of the camera using the 24p Apocalypse Now Boom hack, no colour or level adjustments done.    Shot mostly at f2.8 - f5.6 at 1/50 24p movie mode with an ND8, ND4 and a polarizer stacked on the front of the Izukar-Scope.   Shot at 2pm-ish under harsh light cos i was curious as to how it would do.   Close ups done with the dedicated diopter that screws onto the lens.

Hello,   I'm new to this forum and also to anamorphic shooting, though I worked as steadicam operator on projects with rented hawk lenses before. I downloaded the anamorphic shooters guide, read the forum and watched videos so far.   Recently I purchased my first anamophic lenses on ebay: http://www.ebay.com/itm/290889768316 a set of Rathenower Rectimascopes 48/2x which I might get soon. Videos on youtube confinced me about how sharp they are. One mount option is exactly like Edwin Lee and tferradans did with their Hypergonars:   http://www.eoshd.com/comments/gallery/album/29-hypergonar-hi-fi-2/ http://www.flickr.com/photos/edwinylee/sets/72157625790618742/   However, the Rectimascopes are dual focus and I'll soon have the ability to test how this handles in real shooting. But after reading what JohnBarlow did with his Moeller rig and the option to use autofocus lenses with single AF by half pressing the camera shutter http://www.eoshd.com/comments/topic/2398-my-compact-moeller-322x-rig-scope-on-a-rope  I wonder if it is not possible to use a camera with continous autofocus for the rear lens at all. This way one would only have to focus the anamorphic lens and the rear is adjusted by the camera with contrast autofocus. No reason to fear the autofocus might adjust to the backround in this setup, though.   I have a Canon 60D and no autofocus lens at the moment since I use my old Contax/Yashica lenses for video and also photos but what I've read in the manual their autofocus won't allow for continous and fluent focus revision. But a Panasonic GH series camera might do the trick and that would be a good reason to buy one. Eventually there is somebody who already tested this approach with dual focus lenses?   Thanks, Andreas

I am selling my lenses!   1.Set of lenses Zeiss/Oberkochen They give beautifle filmic look!   Zeiss/Oberkochen Distagon T* t/stop=1.2 18mm Zeiss/Oberkochen Opton Di    t/stop=2   24mm Zeiss/Oberkochen Opton Di T* t/stop=1.2 25mm Zeiss/Oberkochen Opton Di T* t/stop=1.2 35mm Zeiss/Oberkochen Opton Pl T* t/stop=1.3 50mm Zeiss/Oberkochen Opton Pl T* t/stop=1.4 85mm   https://www.dropbox.com/s/4lx8m60yxsp0mdq/oberkochen.jpg https://www.dropbox.com/s/0p4aqie9rizx5bx/IMAG2162.jpg   So how much i can get for them?   2. Totalvision anamorphic    https://www.dropbox.com/sh/qp9dby19o8lee6u/ttAiEQc_St#/     I am mainly intrested in price right now for these lenses? Thank you!

Been working on this one for quite some time...  Just in time for the premiere for season 3 tonight, my Game of Thrones spoof, "Winter is Coming."   Shot on hacked GH2 with a Bolex anamorphic.  Mounted with an awesome clamp by Redstan  (seriously, top-notch stuff.  Well worth the wait/cash.)   Taking lenses were Nikon 35 f2.8, Konica 40 1.7, Nikon 50 1.2, and Super Tak 135.   Color by Shian Storm's ColorGhear, my first attempt, so be gentle!   Shot at numerous locations over the last few months, including a re-shoot for the band sequences as I couldn't' stand how the first set turned out.  (hated the background.)  We also got very, very lucky with the weather for the outdoor battle scene. Considering we had no budget at all,   I was shocked by how many people showed up for that  shoot!  Enjoy!   http://www.youtube.com/watch?v=VQeazQ0eohQ

After reading Andrew's post on The Forgotten Anamorphic, and purchasing his helpful guide, I bought a Proskar 16-A.   I'm relatively new to anamorphic and have a Sankor 16D and DO 16F.  Using the Redstan clamps and recommended taking lenses, I've had good success with those two so far.   However, the Proskar I received seems more like a magnification lens than projection adapter.  I can't pull any focus and knew there was something "different" when I looked through the adapter vs. my other anamorphics.   I've attached two pictures as a reference.  I basically have to be right on top of the quarter to see that it's a quarter when looking through the Proskar.  No problem identifying the quarter at larger distances using the DO or Sankor.   I've tried the Helios 44m-4 and Jupiter-9 taking lenses, which work fine with the Sankor and DO.     I saw that Andrew used a Canon FD 50mm Macro lens and wanted to investigate further before adding another lens to the mix (I would have to buy this.)   I'm thinking the adapter may be bad?  I haven't ruled out operator error, but...   Any thoughts, suggestions or feedback would be greatly appreciated.  Thanks in advance.   [attachment=456:DO16F.jpg]  [attachment=457:Proskar16A.jpg]

Strange fixed focus (@4m) Moeller. Its a 19/1.5x originally for S8 cameras but fixed focus only.   First time I've seen one of these, normally its the focus types that I usually see.    

"Picture A Girl With Red Hair" is a film I shot in 2012 that just completed post. It's starting its run on the festival circuit now. Here's a still:     I'll post more updates as it plays in festsivals. More info here:   jeremyosbern.com/blog/

The Iscomorphot 8/1.5x doesn't seem to have a really good taking lens.   I thought I'd take a stab at finding one.   I recently picked up a Nikkor-O 35mm f/2 lens that I heard worked wonders with the Baby Bolex on a GH2. I assumed that it would have similar vignetteing characteristics as they have the same screw size on the back. Turns out that serious vignetting kicks in below f/4 on a GH2 (probably won't set in on a GH3 until 5.6) but this combo has the least smearing I have seen with the Iscomorphot. This combo smears a hell of a lot less than when it's on the Helios 44-2.   Here's the comparison I did between the Nikkor-O and Helios with a Voigtlander Nokton 25/0.95 (all Voigtlander shots are the same picture, put next to the others for easier reference).   https://benwabbott.minus.com/lFF8XQjURfUTx   Tomorrow I'll do a better comparison by rolling through the apertures on each in video form. 

Hi, all! I have a question to pose to Lomo squarefront users. The fronts are not all the same, right? Which of the squarefronts can go on which of the spherical Lomo back lenses (the coupling ones)?   For example, can the 50mm squarefront go on the 75mm Lomo spherical? Can it go on the 35mm too, or does it vignette? Which combos work (if any) and which do not?   Thanks in advance!

Hello my anamorphics friends   I'm in Manhattan for two weeks till the 8 of april, working on my creative film documentary "Womanhattan", and you can be sure I'm going to shoot again and again in anamorphic the city that never sleep ! :) If someone there live in the area and want to have an american coffee :P please let me know !   Seb Farges     <iframe src="http://player.vimeo.com/video/31303587" width="500" height="281" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/31303587

http://www.ebay.com/itm/ISCO-Gottingen-Animex-S-8-2x-Anamorphic-Lens-/321094089165?pt=AU_Lenses&hash=item4ac2b2f9cd Anyone have any idea what this lens is...

Anyone know anything about this lens?    http://www.ebay.com/itm/Vintage-Sankyoscope-Anamorphic-1-5X-8mm-movie-lens-Ichizuka-Optical-1960s-/200906477445?pt=UK_Photography_VintagePhotography_VintagePhotoAccessories&hash=item2ec6f58f85

Next to Bladerunner, my favorite film is Paul Thomas Anderson's Magnolia.  I take a lot of heat for that with some of my friends but I don't care, it's beautiful and masterful.  Anyway, I watched it for the first time in several years tonight with a friend that had never seen it before.  I went looking for the trailer to show them and found this:     http://vimeo.com/56335284     ...his combination of anamorphic photography with steadicam is a favorite facet of mine.

I visit my brother, niece and sister in law, and I met in Toulouse Olivier, a anamorphic lenses collector. He lent me for this week end one of his Iscorama. It was the first and hope not the last time that I have this lens in my hand. It's working very well, sharp, and usable for closed shots without a diopter.   <iframe src="http://player.vimeo.com/video/61965327" width="500" height="281" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/61965327"     GH3 AVCHD 1080 50P natural mode 1080 50P Iscorama non MC 1.5X version, apparently more 1.4X, that what I've done on post Yashica 55mm f2 Contax mount light craft ND variable filter Tokina 0.5 diopter here is a face to face Iscorama / baby Hypergonar : vimeo.com/61788864

Hello everyone, here is a quick and non scientific comparison between the Iscorama 1.33X very rare version (taht I have just for this past week end) and my baby hypergonar 1.75X.     <iframe src="http://player.vimeo.com/video/61788864" width="500" height="281" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/61788864" Iscorama 36 non MC 1.33X version Pentax Takumar 55mm f2 Pentax mount   VS    baby Berthiot Hypergonar   1.75X version   Contax Zeiss Planar 45mm f2 Contax G mount   on GH3 natural mode 1080 50P light craft ND variable filter Tokina 0.5 diopter

Hello fellow lens gurus, I've been looking to buy some kind of start lens, to what will hopefully soon be my anamorphic lens collection. I tired to buy a set of oct-19 lomos over the summer but was endlessly outbid. I'm a canon 5dmk3 and canon l series glass owner, and have wanted to adapt or better yet, actually own anamorphic primes that work on a full frame sensor without dual focusing or piggybacking lens together. I found this on eBay today but don't know much about this lens other than its a later isco and is multi coated. The nice thing seems to be that it already is equipt with and canon lens mount, but I'm not sure if this 50mm lens will cover the full frame sensor on the 5d3. http://www.ebay.com/itm/130864721991?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649 Take a look and let me know your thoughts before I consider plopping down 2gs. Thanks for your help as always guys!!

Anamorphic Tilt Shift essai   Essai with my anamorphic lens on a tilt @ shift lens. Hard to use, hard to focus, this is just an essai :)     GH3 1080P 50 Hartbei Super-Rotator 80mm tilt and shift lens usually between f5.6 and f11 Baby Berthiot Hypergonar 1.75X anamorphic lens Light Craft variable ND filter Tokina diopter       <iframe src="http://player.vimeo.com/video/61262559" width="500" height="281" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/61262559"

Hi!   I have a 5d3 and am new to anamorphic shooting.   Getting ahold of an Isco 54 will be difficult, and probably out of my budget, lol.. So I've been looking at the Vid-Atlantic Isco's they sell for $849 with the clamp kits.. The videos they have of it in use with the Mark 2 look kind of like they were shot in the 70's though, so I was curious if anyone had some experience with the Vid-Atlantic adapters and could vouch for them, or if someone had a better solution?   I'm trying to stay under a thousand dollars..     I thoI thought this one looked great with the Kowa 16D, but I've heard bad opinions also..   http://www.youtube.com/watch?v=8DRD16HYDL0   (Favorite shot @ 00:37)   Also this one:   http://www.youtube.com/watch?v=SldXYArHbhk   Both shot on a Kowa 16D.

Hilos (Vertical Anamorphic does 1:1 ratio) <iframe src="http://player.vimeo.com/video/61184180" width="500" height="281" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/61184180" I test the possibility of doing an vertical alignment with my baby Hypergonar Berthiot 1.75X anamorphic lens. Doing this transform my 16/9 GH1 takes in 1:1 video. This could be interesting for example if you want to do false 4/3 archives with a contemporary 16/9 cam, without cropping what you are filming. Or doing filmic essai like this one, with my friend dancer Violeta. GH1 hacked AVCHD 720P 50 + still pictures Voigtlander 40mm f1.4 + Berthiot Hypergonar 1.75 anamorphic lens Light Craft ND variable filter Nikon +1 diopter No color correction Music : ADNtoX

I am new to the anamorphic arena - and I have some questions regarding workflow for you experienced and professional anamorphic guru's.    Firstly, here's the gear I'm using:   Canon 5D Mark 3 Canon 85mm 1.2 II ISCO 1.75x   Editing with Final Cut Pro 7   My first question is:    Aspect Ratio:  What is the correct aspect ratio for a 1.75x ISCO.  I'm confused as to how to calculate 16:9 with a 1.75x zoom... does this mean that my aspect ratio is 2.35:1?    My second question: What is the proper workflow in order to edit anamorphic footage in fcp?  For example, once I've exported the H.264 footage recorded at 1080i24p into FCP, how do I squeeze the footage in order to use all the precious pixels at 16:9 with a 1.75x zoom?   My third question: Focusing.  Is it normal to not be able to focus my prime lens (manually) when the ISCO is attached?  It seems that I have to remove the ISCO lens in order to adjust focus.  Maybe there's something I'm missing with regards to the electronic mechanisms of the camera/lens that don't work with the ISCO?    I have more questions, but these would be incredibly helpful if someone can help me with these questions.    Thank you in advance!

Hello to you all,   another issue with the anaorphic lenses. I am a newbie to these stuff. I recently bought an anamorphic lens (Meopta Anagon 2x80) in order to practice for my forthcoming shooting. The issue that I am facing is that when I shoot between 1m-2,5m the picture is blur and completely useles. The problem seems to dissapear when I shoot 3m and beyond. Please advice any solution and why that happens. For your info, before anamorphic I use a prime 58mm f1,4.

With a little luck, Goat Man's Hill will be going into pre-production on our next feature in the next couple months.  In all likelihood I'm going to shoot most of it with "Moon Trial 3" and anamorphic.  A good deal of it will be available light and night in urban spaces.  The basis for my finishing pipeline will be After Effects, Film Convert and ColorGHear.     I've started roughing out various recipes for how the footage will flow through the pipeline, mainly dealing with NR and then the right balance of grain to put back in.  At some point I may investigate ColorGHear Pro's grain layers instead of this portion of Film Convert.   http://vimeo.com/60359953     This is a boring test video. If you don't like boring videos testing very specific settings, software combinations or techniques, keep moving.   That said, it does have a cat!   Seriously, there's a lot of excitement re: Driftwood's "Moon Trial 3", especially where 24P is concerned. After doing a snoop on ISO noise between 12500 - 160 I was blown away by how clean ISO640 is with this patch. I wanted to shoot a high contrast, available light scenario to not only play with NR but also different techniques and levels of simulated film grain (via Film Convert). The irony in this is not lost on me, hah-hah.   I output three versions of a pan + dolly. In all three scenarios I'm using Film Convert for my basic "emulsion pass" but with grain turned down to 0% (I knew I'd be applying it later). Each version also uses ColorGHear to give it a slight grade (switching off any cinegamma nodes because this function is provided by Film Convert).   All three versions use the "GHrain Killer" GHear to smooth out the chroma noise. Because this also filters out detail and sharpness in the luminance portion of the image I use the NR on a layer I just intend to use for its color. All three versions also use the technique I standardized on for SICK BOY to enhance small contrast and detail without the false edging you get very quickly with typical sharpening kernels and still rather quickly with the Unsharp Mask tool.   Lens Used: 35mm f/1.4 Nikkor + Century Precision Optics 1.33X Anamorphic   *1st Pass* ...I combine the "grainkilla" smoothed chroma with an original, unfiltered luma and 42% grain over the entire image.   *2nd Pass* ...I leave out the original luma, passing through the filtered luma and then depending on my LCE (local contrast enhancement) pass to re-establish an acceptable level of detail (still enhanced versus the original). The result is sharp edges and the ability to make out tiny textures like on the wall, the material on the chairs, etc. but also exceptionally smooth looking blacks even when I blow out the exposure to see "what's down in there". This version also has a uniform 42% grain applied to the whole frame.   *3rd Pass* ...in this one I do everything I did in the second pass but this time I create a luminance key with a "bell" shaped response that gives me all the mid tones while rolling off both shadow and highlight region and grain is applied through this key (this is based on an article I read interviewing the DP and colorist re: an episode of HOUSE that was shot all on the 5D where they discuss applying grain in this way). This allowed me to bump up the grain to 77% yet the net result doesn't feel as overall noisy as the previous two examples.   Oh, and 4' of dolly track just isn't enough.