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i am restarting my anamorphic project anyone with a blackmagic camera based in london that wants to meet and give me some feedback that would be great. it would be handy if you had played around with scope lens before. please ping me a message if interested cheers.

Today I had a nice chat with a kind lady at ISK-Optik former ISCO-Göttingen. I was asking for the original adapter ring (39/0.75-49 for my Leitz cinegon).  She told me she was sorry: they dumped everything of the "old" stuff. "Yes, sir we dumped the old stock, as we needed the space for new developments" Well, I was... speechless. I told her in brief about the "Iscorama-hype" and prices. I even told her about SLR-Magic and the price tag of $1500,- I could "hear her smiling". It is unbelievable the ISK-Management has obviously no idea what is happening.    Or could it be that the production of a new Iscorama with similar quality is just  too expensive?   An aquintance who has a friend (a scientist who has even received an Oscar together with some others) at ISK-Optik told me they are more into developments for the industry.   In my opinion it is more of a missed chance Reminds my very vague of the magnetic monorail - now in China  :P   [attachment=663:IscoramaB.jpg]  

  Read: you have to focus by turning some little thumb screws which will make using this a pain in the ass.    Read: http://www.eoshd.com/comments/topic/1352-schneider-kreuznach-anamorphic-projector-lens/ BTW, Andy Lee is the seller of the lens you are linking.

Get me out of this 8 bit world!

All of Edgar Wright's films have had impressive or, at the very least, quite pleasing and slick cinematography and his most recent installment to his and Simon Pegg's "Cornetto Trilogy", The World's End, is no exception.  There's a great feature article covering the style and technical approach to the film in the September issue of American Cinematographer Magazine (http://www.theasc.com/ac_magazine/September2013/current.php).   When it got to the lens selection for the anamorphic portions of the film (once the scifi madness kicks in) I wasn't at all surprised that Wright and his DP went for a classic sampling that included C-Series lenses for their greater character versus new cinema anamorphics.  Wright likes to shine lights into the lens as much as anyone here (and he does it so much better than JJ Abrams).  Coincidentally, Panavision made a discovery at their Woodland Hills location, a B-Series that Panavision had failed to catalog and been long forgotten.      Given the way a lot of discussions go around here over this anamorphic or that anamorphic, I had to smile when I read the part where this DP praises aberration and soft edges.           ...and I always like when they go into this sort of detail, about working or target stops used on a film.  Anyway, it's a nicely detailed story about a contemporary anamorphic film that's worth grabbing an issue for.     Only God Forgives is likewise covered in this issue, and though it's not anamorphic it is, very surprisingly, a mostly practicals show with very few cinema lights used.  Having seen the film it's almost too hard to believe the information in the article. 

Oh yeah.  You won't catch me defending COPs.  I try to avoid that part of the package entirely.  It's never felt anything but clunky to me.  And for several releases several really important nodes just plain didn't work correctly.  And we're talking nodes that were really basic math.   After using Nuke for so long it's hard to not be disappointed with any other node-based compositor, truthfully.  I'm a .5-Alpha Nuker and one of the first artists to risk putting it into production, back on True Lies.  It was a text only, script-based compositor back then, in the style of Wavefront's TAV-Comp.  I was ready for anything better than Wavefront's Video Composer and until Nuke got a GUI I preferred script-based compositing anyhow.   By Apollo 13 and Strange Days the first version with a GUI (nuke2) was rolled out but it was like the wild wild west.  You'd kick off a six hour network render and halfway through you'd see things go haywire on the queue because the new lead programmer had pushed out a new version where he inverted his assumption regarding how a node might treat the absence of an alpha channel.  Stuff like that.  Good times.   I kinda got even with Bill for giving me ulcers with nuke2 when he was exiled from the software department to work as an artist assigned to a show, so that he could get some perspective on how his work affected so many people, and he got assigned to one of my teams, lol.   I use mostly After Effects these days.  I love the interactivity but really, really hate how inefficient the timeline paradigm is.

Hang on, why do we need to wait 2-3 weeks for a rumor? If there is rumor out there spill it, isn't that what 43rumors is all about?  Or is 43rumors only allowed to publish what Panasonic and Olympus allow it to publish?   Hmmmmmm

13 stops of Dynamic Range with Global shutter would be PERFECT for the GH4. If it could shoot 1080p/120 or at least 720p/120 I would buy it in a heartbeat. 

They want to sell what they can develop relatively easily, CODECs and chips, instead of what really diminishes the quality of most video, from production to display--low dynamic range and as NTSC used to be mocked as, "Never The Same Color" twice.  That said, I doubt consumer video will change much, in that regard.  Data requirements just too high.  What Panasonic could do is allow Vitaliy to hack the GH line into producing RAW video.  Doubt that would ever be a press release though!

Ehh, did any of you look at the samples provided by levisdavis? The whole point is the moire in full sensor mode... and how a VAF can improve it.   Anyway, I downloaded 2 dng's and make a quick comparison. Without VAF (sharpness 0) and with VAF (sharpness 25):     Thanks for sharing, looking pretty good. I switched to a 5D II and I'm waiting for my VAF5D2b...