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IMO there is a fine line between character and resolution. 4k is simply a marketing term. Pushed by the technology companies. We don;t need it and never will need it, but the customer (who pays for our work) will often be susceptible to marketing terms and switch off if something is not 'up to date'. Classic case... Music. Modern music sucks yet youngsters donlt realise because its all they know. same with movies. modern movies suck compared to 1980's hollywood. But on topic, I think if a anamorphic system will deliver 720p with beautiful character, I'll take that over a boring lens that delivers 4k, 6k or any other number that non creative people like to hide behind rather than make art.

You realize that was only regarding Media Encoder, not Premiere itself, right? Also, this was put out shortly after. http://noamkroll.com/adobe-premiere-pro-vs-final-cut-pro-x-round-2-h264-compression-update/

Pre amble As you all know, the Schneider Cinelux anamorphic is a 2x CinemaScope consisting of 4 glass elements in a 2 group configuration, in optical shorthand 4e/2g, using some exotic glass like Schott SF55 and such. It is primarily designed for flat-projection spherical taking lenses. Currently the only significant support for the single focus 1.5x aesthetic is wholly owned by the Iscoramas, although Rectilux will support the 1.5x Bolex/Mollers, shortly. Description However, sitting on a computer in my design office is a computation for a 1.5x Cinelux..... The 1.5x Cinelux requires optics to be fabricated to perform this feat of engineering and will be rehoused in a smaller casing approximately 2/3 length from 105mm, the current length at infinity focus. Pricing I have run the numbers and I can give an approximate pricing based on a 50 customer payload. Price is 300-350 GBP and of course you will need to purchase a Cinelux 2x as a donar lens. It will be a self assembly deal. My responsibility will be to provide interested parties with the housings, additional optics, mountings and assembly guides. The 'MiniLux' as i refer to it, will be compatible with Rectilux 3FF-W, single focus attachment as standard. The extra shortness and lightweightedness is of course a bonus. If you are interested, please register your interest below or via this email, john@transferconvert.co.uk best

Perhaps this is a better video to show... Higher contrast, pans, tilts, on a tripod, and wider lens. Still not seeing any drift..Here's another example. Higher contrast between subjects, pans, tilts, tripod, and wider lens. Not seeing any drift. Again, I'm on firmware v1.01

​Im using the latest firmware for both my lens and camera. I'll upload a video when i got time

nahua, sorry if I misunderstood your point. I agree, shooting with these resolutions were a dream a couple years back, that's true. I enjoy very much the fact that we can do it now. I'm against 4k and the way they're selling it, but have nothing against the people who like 4k, or shoot 4k! It would be just rude, like someone turning to me and saying "shooting raw is stupid", to whom I'd say "that's up to me to decide, buddy! It might not be YOUR thing!". So, if I sounded like that (and I think I did), I apologize. Rich, good point there. I don't agree about the movies, though. It's not like there were more good movies back then, it's more like there are A LOT of bad movies today, but the number of good movies per year hasn't decreased. It's the ratio between good/bad that has shifted (this is me talking like the film history/production graduate I am).

oh man, you didnt have a battery inside the d5300, without the battery the ovf turns dark and out of focus...

​I really appreciate the opinion. I think the 'neither here or there' is a good assessment. I think some of the shots at f2.8 on the tokina 11-16 really pull you out the filmic look. Def there are things to improve upon on the next shoot.

​Just look at the second video Ed posted on the first page of this thread, there it is very obvious. For Ed this was just blooming and "normal" but it isn't, the camera is compensating, just like in Agolex example. I didn't even need to see another example to know this wasn't normal behavior of a camera in full manual mode.

I had the Optex a couple of years ago and I recall it has to be stopped down to get sharp like all focus through adapters. Unfortunately it will still not become that sharp even at f5.6. But as GH4 is so sharp this is not so bad maybe? The Tamron diopter is quite good. Nearly as good as the 0.5 Tokina.

Hi Tito, I just watched Zona S. SP. and I am very impressed! Great job. Really, realy well done. I have to say you definitely are the right man to own those fine lenses as it is much better to make good films than boring flaretests and so on Unfortunately I cannot provide you with any good resources regarding the Iscorama stuff. I know some filmmakers who have decades of experience with Iscos. One in particular knows some engineers from Isco and had a quite close relationship I think. He owns all the good stuff... Keep up the great work! Hope you have a nice time in Vancouver (heard it is a great city)

Same situation here! (Optex + 12-35 + Gh4) I've tested on this lenses: 14-42 kit, 12-35, FD 50 1.4 , FD 24 2.8, oly. 45 1.8 I think that modern lenses work best with this kind of anamorphic adaptor. For me 12-35 as wide as possible (around 20mm for no vignette) and f8 or similar get good image. (best of all of my lenses by far) My optex unit came with rear element fliped (reverse hack for close focusing) and terrible image quality. After fitting and aligned correctly the image get very decent. My advice is to put optex on the taking lens as close as possible , and with de 58mm threat direct to the 12-35 seems to hit the rear element of the optex again the front of the 12-35, so i'm using a 58-58 step ring (cheap UV filter without glass ?). Need time for more test, but would be great if we could share our results @ROMSPROD sorry for my english, i'm from Spain.

I did a quick test with the Must HD field monitor, GH4 and the Atomos HDMI cable (with isco ultrastar). I was meaning to do this earlier but a friend wanted to borrow the monitor to see if it was worth bulk purchase for their shop. This is for anyone who is interested in similar setup. Ok so to summarize what I think overall, this set up is great but not perfect (yet). The monitor image quality is good and works well with GH4 menu interface etc. but GH4 still needs firmware update for HDMI output for the 4k Photo mode, so that is a downside for the moment for anamorphic lens users like us. I don't think I can get a exact aspect ratio of the image I get from a 2x lens even if we get the firmware update because the monitor is fixed to certain aspect ratio modes (can't be customized). However I can get fair idea of the final outcome using these modes. I think this monitor wins over even smallHD in terms of image quality and functionality, especially when you think of the price point. I just wish it had a better looking menu and a more robust body build. My friend who borrowed the monitor mentioned that the changeable battery mount on the back is a unique feature at this price point. The atomos HDMI to micro HDMI cable is GREAT.... like reallllyyyyy solid great. I don't need to worry about it one bit while shooting. Especially with the cable lock on the MustHD. Not sure if there are any other video purpose built cables like this but this is by far the best one i've used for a filming situation. Monitor hood flips out into place with a spring or something. Design is really good, materials not so much. I wouldn't want to drop it. This is a shame because I really think the lack of a solid steel body build will put a lot of people off from buying this monitor even though other features on this thing are great. Made a cluttery mess for the test. The Atomos cable you see here is the longer version (19.6-25.6") 2x Squeeze from the Ultrastar lens. 2.35 aspect ratio mode on the monitor. Exact same image as above, just desqueezed couldn't resist....

i have both A6000 and A7s. I only have emount APSC lenses, but for Video is more than enough! 50mm 1.8 OSS is nice in A7s , sharp as can be, 75mm eq. , perfect for portraits and very low light. I have also Sony 18-105mm f/4 OSS, with incredible stabilization, very sharp, constant aperture, and very useful range (27-160mm eq). Very fast focus too. I have sony sel 10-18mm f/4 OSS, sharp too, and very wide for indoors use (15-27mm eq). You don't loose any sharpness (on the contrary you have more sharp image) , you only loose 1 stop of light, but its not that important in A7s. You also gain less rolling shutter in crop mode. If you want another fast , more wide prime, there is 35mm OSS , very good lens, 50mm eq in A7s and with OS ! Here is an example of a7s and sony sel 50mm 1.8 OS

jcs your fashion example about certainly shows off all very well and auto everything it is impressive. That is the A7s? Yes I have read the Commlite is good.

Great job, this is actually looks usable and its "cheap".

​ Hi Andrew, Richard, Thank you for your kind words, Rectilux 3FF pricing can be found at the website and also in the download brochure. Rectilux 3FF ordering information is also available for download at the website using a procedure which should be familiar to you. Ordering is already in place with several orders confirmed for Kowa BH/16H/8Z and ES Cinelux and others. There is also a white paper explaining how these focus units work and also some guidance on what benefits should be considered before making a purchase. Recently, I needed to explain the name and rather than drag your readers away from this forum, I can reproduce my reply here. Rectilux comes from the Latin: Recti = straight Lux = light, in other words Rectilux means the light passes straight through, no effect on footage. Rectilux has neutral optical transfer function (see wiki - optical transfer function) which is a tech way of saying no effect on footage. The following are test shots purposefully taken to show the exceptional performance of the focusing optics by mimicking a 4K to 1080p workflow from 16mp stills and are best viewed full size on a 1080p monitor. See this shot below taken at F1.8/50mm 1/50s, (check EXIF) the left part tells you nothing about the focusing optics because it is all bokeh blur, however the right part tells you everything - it is very detailed and no CA, over by the bookshelves which are about 20m away @https://www.flickr.com/photos/125986580@N05/14892655303/sizes/o/ below I have a stealth shot of a Rembrandt at the art gallery, worth a few million, when the security guards were not looking, Rectilux is light & small, goes unnoticed. Shot up close, handheld, less than 1 metre at a slight angle F1.8/50mm 1/50s, (check EXIF) see the corner performance, the detail in the bubble at 1:1 pixels @https://www.flickr.com/photos/125986580@N05/16042907897/sizes/o/ below I have a mid range outside shot with a zoom about 80mm F5.6 1/50s with 3xND filter, check performance across the frame @https://www.flickr.com/photos/125986580@N05/14686111660/sizes/o/ below I have a far range shot with a zoom about 150mm F5.6 1/50s with 3xND filter, check performance across the frame @https://www.flickr.com/photos/125986580@N05/14849888436/sizes/o/ more links to performance tests at the web site. I mainly use footage to show the breathing and mechanical focusing performance and effect on flares, the first few seconds of this one below show me pulling focus into the bottom left corner close-up focusing is where the stroke and throw is biggest of course, @https://vimeo.com/108008419 there are some quick focus pulls in this one, and you can assess breathing @https://vimeo.com/107346885 and slow pulls in this clip comparing mumps with a v-lite @https://vimeo.com/105439595 All my tests are concentrated on the focus unit you are buying, not on the anamorphic which you already own. Rectilux system is expanding, I will be adding Bolex 8 & 16 1.5x quick change support soon and more later. All Rectilux are single wavelength coated optics with a non-coated option by special request. Rectilux complies with the standard legal 14 day money back after delivery regulation.

based on this pdf and the pricing, I can say that once physical items are available, and suitable test footage is made public which support the published specs, these options appear rather attractive.

​ actually very few lenses support true 4k when wide open. I assume the reason this is mentioned is that the optics have been designed to be good enough to support such resolutions if both the taking lens, anamorphic and camera can also do so.

Permissions are usually expensive and a headache. Try gorilla shooting but remember: 1. Keep cast and crew small and inconspicuous. 2. Don't take hours to finish any scene. Elaborate scenes should be shot inside/ indoors. 3. Rehearse. 4. Don't carry equipment outside that draws too much attention. Just a single camera with hidden lapel kics with wireless kindda recorders. 5. There should always be a production guy who can handle the cops. Also everyone should scoot while he does that. 6. Tiny handheld stabilizer like the Nebula 4000 or extreme wide lenses and a steady hand. B

New design looks good John. What about availability and pricing? Cheers

Good job Izhar

​That's almost like being invited to see how the trick of cinema actually works. Mesmerising.