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a few of mr anderson's inspirations methinks. http://www.youtube.com/watch?v=5Cb3ik6zP2I http://www.youtube.com/watch?v=F8Ciz1G_Zm0 http://www.youtube.com/watch?v=hdZMw0Q1B38 http://www.youtube.com/watch?v=B-uxeZaM-VM

http://vimeo.com/70264199   I had all but given up on ever finding the perfect 8mm anamorphic lens, but I recently got my hands on what I think is the most rare anamorphic lens that I have ever owned -- the Zeiss Ikon Anamorphot 22/1.5x. It is almost impossible to find any information on this lens. I could not find any pictures of the lens, nor any test footage. In fact, the only reason that I knew that it existed was a tip from anamorphic Godfather Kostas Petsas, who also has one. He compares his Ikon to the Iscomorphot 8/1.5x.   Like the Iscomorphot 8/1.5x, it's an 8mm "baby" lens that is fully rack-focusable. The helicoid is smooth and has a very manageable throw, so focusing is no problem at all as you will see in the test video above. The slightly wider diameter actually makes the lens easier to focus the baby Isco, and of course it is much more focus-friendly than the strenuous focus throw of the Iscorama.     It's a little bigger than the Iscomorphot 1.5x (front filter thread is about 43mm, and rear diameter is about 32mm) but still much smaller and lighter than the Iscomorphot 2x or the Iscorama. It's nice not to have to add in a support system to hold the weight of the additional lens. Coupled with a DSLR, a taking lens with a silver finish and a silver clamp from Redstan, this could be a great stealth anamorphic setup.   I think that perhaps the most substantial difference between the Ikon and the Iscomorphot is that the Ikon is usable when the taking lens is wide open (at least at f/1.8). Though it is not razor sharp like the Iscorama, I don't see a limitation here.    The minimum focus distance is impressive. I've been able to focus as close as 22" wide open without any diopters.   I haven't really put it through the paces yet, but from what I've seen, the lens has some nice, understated character. It's a lot less smeary than some of the 8mm anamorphics that I have used. The flares are thinly stretched blue ovals, similar to my Moller 32/2x (but I think that I may like the Zeiss flares even more).     I have been able to use it with my FS100 with a 50mm lens, which is usually my go-to lens when I first get an anamorphic lens. I'll have to test it to see if I can get away with using a wider taking lens.   I am excited about this lens. It is the easiest, simplest anamorphic lens that I have ever used and the image is very pleasing. I think that this is a winner. If anyone else has one, I'd love to compare notes.

Hello everybody, here is my new anamorphic set ! :) baby Berthiot Hypergonar anamorphic 1.75X lens Qioptiq Linos MeVis-C 35mm f1.6 C-mount lens I've order a special machined step up flat ring, then unscrew from the C-mount lens the ring that maintains the glass, then replace by the flat ring. I've screwed the original Berthiot small clamp, then screw and aligned the anamorphic. This combination of these two lenses seem to be very promising. Sharpness and no vignetting :) Here is the set and two pictures taken with it on my OMD (video is coming soon). Thanks for your attention. http://www.flickr.com/photos/43243778@N04/sets/72157636631334626/

26mm macro switar....16mm ccd sensor and baby moller would be sublime match.   i collect fast lens have a few of the old greats 1 would suggest that some of the switars are very usable at 1.1. clearly at f1.4-1.8 it starts getting very handy.

  I feel like you and I must be taking crazy pills. :)  We seem to be the only people who believe these cameras are wonderful for 95% of shooters. The G6 and GH2 are both still absolutely superb cameras. I have had ZERO problems pulling a key from either of them. I think the hype that has come with these RAW hacks is really distracting folks from some great cameras on the market.    I wouldn't recommend the Magic Lantern RAW hack for a newbie at all. Total advanced user stuff and frankly overkill. a G6, GH2, or even some of these Sonys can offer a great chroma key-ready camera.    $4,000 gives you plenty of options for stable, quality-assured cameras.

i did years ago with a real bolex also with the gh1. a lot of the variables are to do with lens condition abuse,budget optics. the top line switar where used by bbc type natural history cameramen some where treated well others abused from a life spent in jungle or ice.   i always found the original olympus pen lens more interesting with iscorama back in the day just a case of trying matching. some of the most expensive optics i had did not match well with iscorama.most stuff works.  like making love to a fat girl it works but you get the feeling while you are doing it that it kind of isn't as good as it could be.

I actually don't like the battery mentioned in the OPs video and others like it, because you will have no idea what the discharge status of the battery is while using it. I bought one of these on ebay for about $60: http://www.amazon.com/Naztech-PB15000-Universal-Charger-Extended/dp/B007URKIGC/ref=sr_1_cc_3?s=aps&ie=UTF8&qid=1382108393&sr=1-3-catcorr&keywords=15000+mah Over a year ago, except mine was 18000 instead of 15000mah. And it was a silver version, but otherwise identical unit. I had to record a concert and couldn't swap batteries in the middle of the show, so I wanted to be safe. This thing comes with tons of plugs, and a 5V USB DC-out plug that works independently of the regular DC out. So what I generally do is run the main DC out to the camera at 9v, and the 5v USB goes into my Tascam audio recorder. It powered everything I needed to go on for well over 8 hours. It comes with all the plugs I needed, and it worked so well that I've used it for all-day shoots (8+ hours) and have never had the battery run down on me yet!   A couple of things you should know: The DC-coupler from Panasonic has a weird polarity- the positive and negative parts of the plug are the opposite of what is generally accepted in the electronics world. Some say this was done on purpose to keep parts being proprietary to Panasonic, but who knows. I bought a new standard sized plug from radio shack for less than $1, cut off the plug on the DC Coupler and attached my own with some solder and Sugru (I *love* sugru!). Plug works great, but for a less messy approach, I've seen some adapters for sale that might work too.   As far as how the voltage thing works... there's been a ton of research on the GH2 doing this on other forums, but I'll give you the gist of it.  These cameras have a range of voltage. The battery for the GH2/G6 is 7.2v fully charged, and as long as the camera recognizes it as a Panasonic battery (with the ID chip embedded inside), it will happily chug along until it reaches low enough that it is in danger of shutting off (I don't recall where that is, maybe 6.8v?), and will signal the camera to gracefully shut down so you don't lose your footage.    But here's the thing- without an ID chip telling the camera it is a Panasonic battery, the camera WILL NOT ACCEPT an 7.2v power source. It will complain and say you aren't using authentic equipment. But it will accept a 9v one.    Why? Because Panasonic's DC-coupler has no ID chip either. It's just a pass-through that feeds direct current to the battery cavity of the camera. It seems that Panasonic designed the camera to be able to tell if it is running off a battery vs AC adapter by looking at how much voltage is coming in. Is it more than 8.4v of direct current? Must be using that AC adapter, don't bother checking the battery ID. It is less than 8.4v? It must be a battery and we must require a chip ID!   Long story short... assuming the G6 uses the same batteries and adapters as the GH2, it is designed to operate at 9v constant power. The problem is, it assumes that the source is consistent and not coming from a battery. That means that unlike using batteries, where it will detect voltage dropping if the battery is dying and gracefully shut off, here if your external battery pack drops too low it will just suddenly shut off without warning. So you really need to watch the voltage on the external battery. This is why I don't recommend the battery in that video above. It will work fine, but it has no battery meter and neither will the camera when using it. The one I linked to has a life meter on the LCD display, which is really wonderful if you need to keep an eye on it.

I'm fairly certain Guy + Cameras + 3D printers = Divorce ;)   That doesn't stop me from fantasizing!  

I'm not looking for excuses, I want to like the camera. But I want to hear legitimate reasons to pick it over other options, and quite frankly you guys are getting awfully defensive when I ask innocent questions. The thread wasn't about the G6, its about where I should go based on what I'm doing and what I'm used to. It says G6 in the title because it is an example of something that I think may be a good fit. Notice I also mentioned a Nikon and BMC camera, but didn't mention the Canon 70D or AC90. I'm looking for something in this class of camera. Let's be perfectly clear: I AM NOT ON THE OFFENSIVE. I'm looking for the real deal from people who have used some of the modern bodies, but what I'm getting in response sounds like a pep rally instead!   Its sort of like when shopping on Amazon, a smart buyer will click on the negative reviews first. I want to hear what don't people like about it, what's the worst case scenario- then work backwards from there. If the bad isn't so bad, and I think it is still better than other options available, I'll go for it. If someone just has nothing but glowing reviews about a product, you'll have to excuse my cynicism- I don't believe any product is THAT perfect. There's always a con!   I'm not looking for you to tell me which camera to buy, but rather looking for an intellectual discussion about the pros and cons. I'm happy the G6 works for you guys, and maybe it will work for me too. All I'm saying is help me make an educated decision because we all have different needs and expectations. Sorry if I rubbed anyone the wrong way, it wasn't my intention.

The above battery is a v-mount and can be found here http://www.ebay.co.uk/itm/221258458850?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649   I am building a Scope Steadicam rig and got this: http://www.ebay.co.uk/itm/360764269513?ssPageName=STRK:MEWNX:IT&_trksid=p3984.m1439.l2649   I figure I can charge it on the mount with any 15v charger since it is a component level unit, however there are plenty of cheap v chargers on ebay     If you want the OP's battery style, the cheapest (half price) I found is here: http://www.ebay.co.uk/itm/380725018911?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649   V mount will get cheaper though and have the charge remaining indicators...

Sounds like a great idea! I suppose you'd start by getting the spec sheet of the lens in question and then modelling a mount from that and your camera.   It's need to quite sturdy plastic I should imagine!   Actually I have a friend working for a 3D printing company so I'll ask and get back to you...

Agreed, I feel like even if his style is not to your tastes, it's refreshing that he has his own aesthetic and you can tell its his film within 10 seconds of watching, and any character from any of his films could walk into any other film without feeling out of place. Not many filmmakers I can say that about.

It boggles my mind when I read people criticize him for his meticulous style and production design.  Calling it too "precious".  I look forward to every one of them.  He must be amazing to work with given the collection of notorious egos who make repeat appearances in his films.  They know they're going to be in something special.     I was disappointed that I never got to meet him when I worked on The Life Aquatic.

guys, he said he wants to shoot industrial videos.. the 70d is definitely a capable all rounder camera if youre not looking to shoot a cinematic masterpiece, it has the best Autofocus capability which he said hes looking for, 3x digital zoom is also a much underrated function for run n gun

viva rebellion. viva la revolution will not be televised or hd sensorised.   kodak film stocks old and new cooke lens including new cooke anamorphics.   a brave act in these shallow times of knock it out  release digical diabolical. kodak and fuji  film is dead long live the analogue anderson.

I'll believe it when I see it. If it does do true 5K readout to the engine processor and then uses the downscaling engine most cameras use when you set them to lower resolutions the video should be razor sharp, the difference would have jumped out at Dave and he would have been gushing all over the look of the video. But he didn't because I don't think the camera can do it - the dead giveaway that it isn't really doing this is that it should offer a limited 60 fps burst mode like the Nikon One cameras, but all I see in the specs are 10 fps. Now maybe it's using a binning technique that utilizes every pixel on the camera but I don't think it's discreetly sampling every pixel for its video mode.   A bit disappointing but hopefully we won't have to keep waiting too long; Aptina says it will have 1" sensors with accompanying processing engines capable of 4K ready next year. It's not that I want 4K - I don't - it's just that I want a 1080 mode that has been derived from an entire 4K image sample. JVC's PX10 was the first camera to do this but it threw away so much fine detail along the way it ruined the usefulness of it. Their conversion processor probably wasn't up to snuff. Hero did better, I don't know about Samsung's Note.   The reason you're seeing these fast smaller sensors is because it's a lot easier to bus the incredibly high numbers required for video off of smaller sensors than it is for large ones, that's just physics. That's why the A7's video is probably not going to be anything to write home about. For the smaller sensors I imagine the bottleneck right now is getting processors fast enough to take 5K worth of data and downsampling it to 1080 in realtime like you would for a smaller jpeg image, then encoding that to mp4.   

Hello guys, introducing myself with a short shot of the BMC Pocket, just using the 14.140mm Lumix zoom (hard used and few scratched) and a polarizer filter. Ungraded/Graded shots.  Resut was pretty pleasant, despite of few few time to make it. Questions and comments wellcomed, I am not DOP but director/writer, but well, always learning (camera and better english :-)   https://vimeo.com/76969600   Cheers, JF Calero.   

  I believe the LCDVF for Blackmagic Pocket camera will attach via magnet. Easy to take on / off.   At the moment I am using their LCDVFe as a small lightweight monitor for Pocket and 5D Mark III shooting.   Here's my Pocket Cinema Camera rig. The audio side is handled by the Roland R26. Very good built in mic on it, but rigging it can be tricky and there's no line-out port, you have to use the headphone jack to connect it to the camera or sync the dual-system audio in post. If you set the headphone jack output on the Roland too loud you will get distortion on the Pocket ProRes audio track.   Top handle and nato rail from Wooden Camera. Excellent build quality and design from them.   The whole rig is very light. I've tried to keep it as un-spidery as possible. Without the Roland it is amazingly discrete and looks pro, not DIY.             That above is my Magic Lantern raw rig. Still the ultimate image quality in my view.   I'm powering both the EVF and camera off a single Switronix PB70 battery with that rig. No more swapping multiple batteries or worrying every 10 minutes about having enough juice!

130Wh - not too shabby at £125

I too, would love to know how this performs on the larger sensor of a GH3.

schhh get rid quick the moller is tired history the future is bright it is 1.33. we sorry few lunatics have hit an iceberg. gentlemen we are going down. no band to play for us. no buxum breasted irish girl for a last romantic dance. just the ice winter cold of the deep sea drink.

Yes it has a rotational mechanism where you loosen a collar and rotate the lens block. This part of the design is finalised and improved on the pre-production lens compared to the V3 prototype I tried.   Iscorama paranoia haha. Yes. When I am shooting with one, I look around on the street to see if there's any shadowy figures watching!

No I mean are you paying cash as you are suggesting we do.   It's not a troll comment. You've thrown quite a lot of vitriol towards other gear blogs like PB for this exact thing, it only seems fair if you are specifically inciting your reader base to purchase this thing, that you disclose if you are doing the same. S'all i'm sayin.