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That's not anamorphic, Rich.  It's the cine zoom "taking" lens portion.     edit: ah, beat me to it.

  Good things happen in small bursts :)   BTW - I tried removing the chip from the lens mount on the 10-30mm kit lens. The electronic contacts come off easily when attached to the camera mount underneath a c-mount adapter, the camera is not fooled into thinking there's a lens attached. So it really does look like you need the V2 for non-CX glass in burst mode, unless an AF confirm chip adapter reaches the market from Asia.   The good news is, the 10-30mm CX kit zoom is par-focal and has a pretty good minimum focus distance.

Spotted this on Twitter, first shoot I've seen from the new Alexa at high speed.   Not that I'll own one any time soon, but hey, it's nice to look   And if someone gives you a budget, hire away!   https://vimeo.com/61256446

Lenses now available.. http://www.etsy.com/shop/DogSchidtOptiks Priced with a camera mount of your choice. Showreel of clips:- vimeo.com/61688656 See more footage:- vimeo.com/meltingbloke/albums Check our options PDF document:- http://dl.dropbox.com/u/85427217/Flare_Factory_58_Options_ETSY.pdf Info Sheet:- http://dl.dropbox.com/u/85427217/Flare_Factory_58_Info_PDF.pdf FAQ Sheet:- http://dl.dropbox.com/u/85427217/Flare_Factory_58_FAQ.pdf Also Available in Arri PL,

I came on here to see what people thought of the way the film looked and all I got was pages of argument based on textbook ideas.   My 2 cents. The film was insanely dull, yet still his best film since Pulp Fiction. Why do Americans fall down swooning every time Tarantino makes another long indulgent piece of crap. Robert Richardson top lights too much for my taste and aesthetically the film was pretty bland. For me it was a reminder of how beautifully composed the films he was referencing were, and how as a director I don't think he has the chops to do more than emulate better directors.   Leang that is an awesome picture btw.   Cheers,   Toby

Um, rich that isn't shot with an anamorphic lens.   The Foton is a spherical zoom that was coupled with a 2x anamorphic adaptor but he's not using it. If he was he would be cropping anyway as the video isn't the right aspect for 2:1 on a 16:9 sensor but he even says on the vimeo page that it is spherical.   Cine zoom lenses will cover the full stills35 sensor (as opposed to cine) as you zoom in because, well, you are zooming in on the image and the projected image plane gets bigger as you zoom in.   So maybe the advice for the thread starter is just buy old, lovely, cheap spherical glass and frame and crop to your desired size? ;)

slapped a bit of foil on the pins,... the camera still demands i stop being silly and attach a lens. nothing broke, so i think its safe to do.

But isn't vimeo and bokeh the main goal Burnet? ;) And lens flares. Don't forget lens flares.     Nothing is going to work as well as Iscoramas on full frames. Lomos are designed for 35mm motion picture film which is half frame anyway and aren't worth the trouble until we have 4:3 sensors. But I reckon now the Alexa has gone 4:3 there will be a move back to that sensor ratio from everyone else.         I'm not sure you will keep to that. Anamorphics seem to be a slippery slope dude.   For me at least the thing with the LA7200 and diopters is that even shelling out for the adapter and a 138mm .5 filter and +1 achromat will still be cheaper than an Isco these days. Hell, I'm looking for someone to rehouse the adapter and make it more matte box friendly so I can just drop diopters in but even paying for that conversion I'll still be significantly under the price of an Iscorama.

Really, eight pages of this shite?         Eight pages and you still haven't learned the difference between "hero" and "antihero".     Sad.