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Yes. It will be single focus, just like the 1.33x SLR Magic adapter. Personally, if I'd have the time to wait for it, I'd say go for the SLR Magic. There is a serious company making it, they have a proven track record with the 1.33x single focusing anamorphic adapter. I've seen some really good footage come out from that one, and I expect that they won't release this one unless it performs up to par with the 1.33x. There is not much information available for the maker of the FM lens adapter. It's not a proven lens company behind it, it rather seems to be a small startup shop selling it. Which means no track record of previous products, not even a website yet - just a Facebook page with a tiny bit of info. The FM lens adapter will need a rail system setup to be usable, while already the prototype of the SLR Magic can be attached directly to a taking lens, which means that the finalized product will most likely be the same. That's pretty useful for usability, if you want a lightweight / smaller rig. Also, it has not verified yet, but looking at the released footage - it seems like the FM lens adapter single focusing has a long focus throw, which might make rack focus more difficult. Timeframe: it seems like the FM lens and opening of the anamorphic shop website isn't too far away. I guess the FM lens module will be ready before the SLR Magic 2x is out. I'm interested in getting the FM lens module - because I have an Isco Ultrastar already. I'm not expecting wonders with that combination though. I know what sharpness my Ultrastar can achieve, and the test footage shot with that one looked weirdly soft - like it almost reached infinity focus but not entirely. Not as sharp as when I've been using Ultra star + normal taking lenses. This could be an issue due to the test setup or not, hard to tell. Judging by the tests by anamorphic shop themselves, it seems like the Schneider is a good choice for pairing with the fm lens module at least. If you can find a cheap Schneider to pair with the fm lens module, total cost will most likely be cheaper than the finalized SLR Magic. If you have the time to wait, I think the SLR Magic will be worth the added cost - mainly for usability, but probably for image quality as well.

Pass: Centascope Although this is not a great test of sharpness per say - it was to see how it performed at f2 with and without diopters.Looked pretty decent to me when set to minimum focus. Very little image aberration considering it's simplistic and compact design.

I've stumbled across something that might be interesting to Full Frame and S35 shooters in particular: the Sigma 24-135 f/2.8-4.5. It's a relatively modern lens (from around 2000) so it will have the benefit of modern coatings. Optically, it seems to be well-regarded, though the lens construction is not supposed to be anything to write home about. What's interesting about it to me is that the front filter does not rotate while zooming or focusing, AND it has a manual aperture (if you get the Nikon or Pentax mount versions) -- this is really unusual. The Pentax version allegedly focuses in the Canon direction too. Declicked and treated as a constant f/4.5, this could be a decent poor man's cine zoom.

I was hoping to see a few more tests with the Cinelux before moving on to the Moller, which will also be interesting to see how it fits together with it, and the weight, faster focuses, closer subjects, and some flares:) I have no idea where my Brain resides, but my heart is in Milan & Iseo. If I could do it all over again I might have studied design in Milan, but I was on my arse at the time, and nowdays design & engineering in Milan is probably on it's arse. I dont have 5 kids, or a mistress, life is passing me bye. So far a genetic dead end. I like electronic music, a little Fripp & Sylvian (WAVE Live), chilled stuff, trip hop, etc Saw Karftwerk in Milan, like to play with synths (Virtual), I will always want a faster computer, but I'm more than happy with what I have, but just once it would be nice to have 100k to spend, I think I could do some interesting projects. Hell 50k would be a good start !

I just ran a burst mode test in Raw and got 42 the first time and 39 the second time. On the Focus Beam, I was told that Contrast Focus Cameras don't send out a focus beam. I was kinda bummed about this. I have a Metz 50 AF1 and it doesn't work on my GH2 or GH4.

Hey I know Cosimo.... He is a really nice guy, he is an Honest family man, I am pretty sure he is doing this in order to give something back to this great community, we have been learning from all of you guys, the ones that take their time publishing their videos here and explain how to do it, the ones who likes to share their knowledge and experience..etc etc I don't think Cosimo will make millions because around 16~25 guys here will buy the adapter...He is just trying to get a good price for everyone who is interested that's it.

You did not get back part of the lens. Here is http://www.ebay.com/itm/Isco-Optic-Blue-Star-Ultra-HD-70mm-Projector-Lens-for-Anamorphic-DSLR-Macro-/171495452280 this is original whole lens with back part http://www.ebay.com/itm/321543867890

I totally understand your dilemma. I'm a C100 owner, and have an A7s on rental that will be arriving tomorrow. I'm shooting a wedding this weekend with both and will definitely chime in with my thoughts. At the moment I'm leaning towards selling all of my canon equipment and investing in sony. I don't doubt that canon will come out with a C100 replacement in the next year

wow that is a lot... but look at this guys video it looks so cinematic!

why have you removed the rear part of the lens? front and back elements are no longer now aligned at all!

As long as we're piling on filmic clips... these are GH2... but as soon as there's 4:3 24fps I'll try out ana lenses on my GH4...

just as a point of note on lenses for films : David Fincher shoots most of the time with the same lens focal lengths even when he changes his DOP so even if it is Jeff Cronenwerth, Harris Savides or Darius Khondji on camera for him he is still using a 27mm 40mm most of the time and a 75mm for the close ups , at f2.8 with nds and at f2 at night , thats about it , most of the film is shot on those 3 lenses thats all he needs (page 162 of the book 'New Cinematographers' gives you a look at Harris Savides note book for the film 'The Game' he lists scene by scene what lens he uses and its f stop ....its mainly all 27mm 40mm 75mm at f2.8 or f2.... The late great Gordon Willis shot 90% of The Godfather series for Francis Ford Copolla on a 40mm f2.8 lens - if you get this months American Cinematographer magazine OCT 2014 its a special edition all on Gordon Willis - The Prince of Darkness and it reveals all on how he shot these great films . Then you have Paul Greengrass who uses long zooms all the time and the late Tony Scott who shot almost always on long lenses and used x2 extenders too, thats his 'look ' And then the great Sergio Leone shot all those Clint Eastwood 'Dollar' series films on a single Angenieux 25-250mm f3.5 zoom So my point is you dont always need very wide lens to make great films ..... as long as you have in Super 35 field of view a 28mm. 40mm and 70mm which the Nikon zoom gives you ,you can make a film.....what camera you use to get those lengths is upto you , you may need speedboosters or adapters but those are the numbers that work for me most of the time.