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wow all because of you : ) damn you should of told them to use a doublet in the anamorphic design then they would not have this low light issue. it is not bokeh it is a limitation in the century design f stoppin init. but like the noise alex jones from your town,you austin folks nose best ; ) cannot wait to see your trackin shots at night. and fuck you and your ffs you tit

in old hollywood times the camera dept,the camera rental companies did not bother with achromatic correction. harrison and harrison,mitchells and tiffen made do with single element close up. in fact many rentals got local companies to make pretty shit close up optics. i nose cos i worked at technovision,jdc and panavision. in film they had a big team structure spherical or scope they did not shoot wide open unless they could help it. if they had to shoot a stop down from open the lovely quality camera optics could take it. using shit plate window glass close up on anamorphic was not an issue the folks shootin had plenty a lights and nice heavy f stops correcting any nasties we was messin with achromatic close up in the 1980s. 2 big 2 expensive and 2 heavy once you got over 80mm a joke when you got to 130-150mm. not needed. today compact digical cams are different the folks are different most are shooting without lights, no gaffers and sparks,shooting wide open some with seriously shit anamorphics. where did most of the tokina come from,who got them,who tested them,who purchased most of the worlds stock from various warehouses around the world. who sold them,who bored folks with the info it is true these optics will help you. who got abuse from no it all schmucks saying single element is good enough doublets are not needed you are talking shit. me. most of the tokina around the world came from me,shipped from london. how can the tokina made nearly 10 years ago be in original box like new cos i purchase everything new old stock. sold them at £75 sterling then the fewer i had the higher the price went. i now have 3 left out of 300 hundred. so sorry for calling you a tit but your crap about you lecturing some copy cat china company about what to do did not come from you from an original concept, it came from my insight. the improvement of optex,century with tokina came from my experiments. did i twitter blog about it or shoot a shit noisy vampy video no. i experimented played and fiddled and sold some stuff with a cast iron guarantee of improvements. the fact they are making a +0.4 shows again that china has zero original idea. nearly always based on idea theft or takeover. i gave up my anamorphic build quite a while ago because i have high standards and was aiming for the stars. i now understand that this is not important a hill will do. what is more important is the hype of the new and how pretty the promo film looks. since letus and slr are being so lazy on the design side i will knock up some interesting nick nacks that should be pretty nice reply.

They're already including the +0.4 and +1.3 with beta versions of the anamorphic. why if they have a new design? interesting as they said many times that diopters where expensive and not needed with a new design? which is true if it was a new design this is proof it is just a revamped vamped china century copy with a copy of the japan tokina. these guys are true originals. the reason they need close up achromat is because the anamorphic is single element. nothing wrong with the kit should b sweet but we are then way over 2000 dollars yes no. by my guess the moller 1.5 should then be trading at 2400 as it will always optically be a better lens than the slr magic. someone with a big brain show me how single element cylindrical lens bests double element. here is my custom original designed achromat not an easy copy of the tokina http://www.flickr.com/photos/34211301@N00/10062412625/

Magic Lantern has 27,000 members.  Let's say there are another 23,000 videographers who read EOS-HD, DP-REVIEW or nothing.  Let's put hard-core DSLR video users, both professional, semi-professional and hobbyist at 50,000.  Canon sold 9 million DSLR like cameras this year.  I assume Nikon sold a similar amount. The U.S. is over 300 million, even 10% of that is 30 million.  Even if Canon looks at their numbers only 50,000 / 9,000,000 equals 0.5 %, that's half of one percent.    There are many ways one can try to increase market-share by 0.5%. I'm sure there are many good reasons why RAW like video is not it.  It's in the numbers.

One interesting point that's rarely touched upon is how light-sensor cost-reduction differs from that of CPUs and GPUs.   Both require bulk in order to maintain scale economy, there's a parity, but 'Moore's law' affects them differently. For CPU and GPU the ever decreasing die size (that's the measurement in nm next to a processor) means that less silicon can be used to produce the same integrated circuit, or that more can be packed in and you can gain on various fronts.   Since a light sensor is of a fixed physical size, it's hard (if not not impossible) to reduce cost by reducing the amount of silicon wafer used. Production efficiency and accuracy help, as can research and development and incorporation, (fewer cast offs and QC fails) but it's essentially a complex process and very expensive. Volume or refined production are key, and both are expensive. Hence Canon's incessant re-using of the old 18MP model, hence BMD's troubles starting in a new field, despite their heritage!   Sony re-use fewer types as they license sensors to others to make up numbers. Yet of course they still split one across many SKUs, and that is part of the reason they can make it in the first place: production is justified by return from the design stage.   Those who don't make vast numbers suffer with quality control or price, it's a hard balance. A perfect example is Blackmagic Design and their repeated sensor QC failures. They've managed to actually make Pocket cams because it's the same as the older sensor, just cropped. Now we can see in action why big companies do this. The 4K cams however, use a new sensor, so the problems arise again. Delays, brand damage, cancelled orders, so on.   Canon can pump out a huge number of functioning, identical units with a comparatively minuscule flaw rate. Since they're in a position of no competition (or negotiated competition, perhaps) in this respect and have Magic Lantern making up the firmware shortfall they needn't move too fast, just enough to stay ahead and as profitable as possible. Consumer cams may be in danger from phones, but enthusiast/pro crossover market is always quite small... for the simple reason that people tend to drop one way or the other after a time. They either rely on cameras for a living, or they drop out of "the race".   Blackmagic have shown that such a camera as we all desire can be made, but we all knew that. What they need to show is that it can be made reliably, on time, and be completed when released, supported, and keep working. So far these things haven't happened. Until then, the biggest players (unfortunately) don't have much of a reason to respond to a comparatively niche market... which is a shame... :/   Personally, and for what it's worth, I feel they would have been better off at BMD making just the 4K S35 camera with a bespoke flat mount that takes adapters to EF etc. This should have been the sole R&D on the camera side for all of the development time, been available at announcement and thouroughly tested. Remember there was no competition for this model, still isn't at the price point. It could have been developed more rigorously behind the scenes, perhaps with slightly more up-front investment, and released, Apple like, on an unsuspecting market.   Unfortunately, as it is we have obsolescence within a line that isn't even shipping fully, orders all over the place, glitches, all sorts. This is the Kickstarted/Public Beta method, I feel a 'behind closed doors' method, over perhaps these two years that have passed would have been preferable: one model, one solution, complete and functioning from announcement day. Imagine if we'd known nothing of these cameras until whenever it is 4K is shipping, and could have bought one right then, guaranteed working? Just my two cents.

So updating everyone here as I said I would. Got my lens back from vandiemen, and she's a beauty!! And I have to say, as much criticism as VD has got on their turn-around time, they not only did a great job on the build but also did exactly in the time frame they promised me. Couldn't recommend this upgrade enough for any Isco 36 or pre 36 owners. Takes a great lens and makes it the BEST!