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Well it looks like someone does…

​Thank you Kris, may I call you Kris? I have moved fast... An Olympus OM System Zuiko AUTO-T 100mm f/2.8 lens is now mine, just the rails to sort out.

On the focus gear front, I had good luck with helicoptersean on ebay. 3D printed from measurements I gave him from calipers he shipped me. Easy and a snug enough fit without any screws or adhesive.

GH4 aeriels mixed with Sony F55 on steadicam. The little GH4 is a wonderful camera. And Yonder Blue Films do awesome aeriel cinematography.

Hans the mans. You win... I bow down to thee, you have obviously spent too much time with lego. https://www.flickr.com/photos/129041403@N06/16309608396/in/photostream/ ps. I was a bidder on the inflight anamorphic 1.75 a few months ago, it was just after watching 2001 and watching your amazing fog video.

Comes with the necessary clamp and yes you definitely need to have rails for this beast.

​Aaaaarp! Thanks Hans! I have just finished reading another post on this great forum that said the same thing, about f2.8 and 85mm so I am going to take that as golden and start honing my eBay skills once more. I am using ML also so your advice on this is welcome too. I look forward to trying it all out and posting some footage of our great city on this thread. Just one more thing... Do I need to start looking for clamps to attach everything together still? i.e. the Redstan clamps, and do you have to always have the lenses on rails?

Thanks guys but that ebay clamp bit to rich for my blood 150 so i made my own bit ghetto but works http://postimg.org/image/4ebb1ofjh/

I say go for the gini rig if you want durability and customization. It's a great starting base. You will find out what you need to add to the rig to your liking and as cinegain says it's easily customizable with other 15mm rod based accessory's. I have had mine for 2 years, one series all shot on a small boat at sea(small rust in screws cause of salt but no biggie, very easy to replace) travelled with it alot. Never failed me, solid. I like that Used it with 5D, Gh2, C100 and C300.

If you read the comments there you'll find out that the one you're linking to, some of the parts it consists out of are plastic. I also have Ginirigs stuff. All metal everything. Just threw two examples together real quick for ya. The first one below is one of these offset dual rod setups, is more rigid and well-built than all the really cheap stuff and much more modular. So you can get some parts from Lanparte for example and throw it on there. Yeah, haven't thrown any counterweights on it, but it's easy to adapt to. With a small lens it's nice 'n easy, but that 80-200mm for example does get to you a little. Follow focus is the Kamerar one (FF3 if I remember correctly). 2nd one is more of a run 'n gun thing (ABCRig). It's more of a cage with handle that has some shoulder rig abilities than a shoulder rig per se. It's nice 'n basic though.

And its out ! Enjoy

Dunno about photography, but precious few people can write a good script. Almost no one can write a great script. This will not change. Ever.

try looking for one thats 'broken' with autofocus not working etc I got one as a spare one very cheap that way as I will never use autofocus as I dont have any Nikon cameras.....£200 broken

dont forget Nikon - the Nikon Nikkor 28mm AI-S is an 8 element lens and THE BEST lens Nikon ever made its almost distortion free! They also do a 24mm AI-S If you waNt a great all in one lens - shoot almost an enrire movie on just one lens - then the NIKON 28-70MM F2.8 IF ED is THE KING ! This is without doubt a killer lens - everyone on this forum wants the - Cinematic Look - well shoot all day with this lens at f2.8 and you have it - Its has a look very similar to Arri Zeiss Master Primes......nuff said!! get one!!

​Yeah try the Cinelux first and see how you get on with it - the FM was made for that lens first and foremost. The fact that you can install your own smaller diameter lenses into the mounting tube is a bonus, but you would be hard pressed to find a lens as sharp as the Cinelux IMHO (and I've compared it to 2 immaculate Kowa B&H lenses sitting on my desk). Yes, it's all about the bokeh...but if you wanted to make the cinelux's flare much more pronounced and interesting, rear mount a cheap (non MC) 72mm UV filter to the back of it like I demonstrated here previously:

​I think except flare...

Yes...and that looks like the same seller I bought 2 from. He must have a warehouse full of em.

​ ​You will need to stop down - f/4 is generally where things get clean, especially when on full frame. Still loads of bokeh at f/4 IMHO, and about the right depth of field on 85mm + x2 anamorphic for plenty of selective focus.

Focus gear update! RafCamera has just confirmed to me that he will from now on supply his FM focus gear with the internal diameter bored out by an additional 0.1mm This will allow the gear to be fitted on and off much more smoothly - without it being such a super tight fit. It seems that my initial measurements were correct, but did not fully take into account the friction caused by the knurled aluminium finish on the FM body. Gear available here: http://rafcamera.com/en/accessories/ff-gears/gear-fm-lens-88-107-32mm

This lamenting about business ruined by dilettants isn't new. Things change and it's harder for established photographers to make their profit. As it had always been. Amateurs don't make good photos even though they can take 1300 for a wedding. It's a fundamental difference if you cover every angle ten times in order to later choose the, er, 'best' - or if you get into the mood, compose the image in your mind, wait for the magic fraction of a second and push the button (the only excuse for SLR cameras today and against the slightest delay of LCDs), I don't consider myself a good photographer. Or videographer. But I do understand this difference. You don't aim your camera at your motif, pull the trigger, shoot a heap of pictures in machine gun style and capture the essence of it. It's much like a fisherman who drains the whole lake and afterwards digs out the fish.

​Right. It's the same sort of idea as with photos like this: A lot of people use the term 'lens compression' or 'telephoto compression,' when a more appropriate term would be 'perspective compression.' It's not anything about the lens itself that is compressing the image like this (except that it allows you to get 'close'), it's how far away you are from the subject. It's a small difference and doesn't make too much of a difference when shooting (you're not going to stand 200 feet away with a 28mm and crop it look like it was shot with a 200mm), but it's a good thing to know.

One thing, the distortion on faces comes because of perspective not because of distortions of the lens. Just try to close one eye and get close to the face of someone, your brain corrects any distortion but the perspective is still there and it will look akward. This is why some people say that wideangle closeups are "intimate". Let's say that the most natural perspective is with the 50mm. A shot done with a 50mm on FullFrame will be natural because when viewed in a normal sized screen/viewing-distance relation it has the same perspective as your eyes watching the scene through a rectangle and being at the same place where the camera is placed. When going above 50mm it gets a closeup, or the way you would remember something where you concentraded on details while sitting away in a confortable distance.

​ ​​Hi, mine is ordered in Black (that's just the computer model display). Actuall view of the real product is not available because we, first buyers, are in the first batch and this will start to be buiIt after 25 persons ordered (one bus). But for being in the ordering list is just 50 GBP then 1/2 of the total payment when production will actually start and the rest just before shipping when product is fully built and available. This is to most of us a little strange way to proceed and I think that John's communication is not tangible enough your absolutly right; most people would need to see actual product and actual footage and tests before putting so much money. But anyway I decided to trust and go on with this one as it's seems a more accomplished product than FM lens, especially for non Schneider cinelux users. As per the name and look, you guys have strange thoughts... By the way "Rectilux on 3FFW, 25mm stroke 0.6 to INF" according to John. And, correct me if I'm wrong John, but the moving part is only the top part, not the middle one so putting gear shouldn't be a problem at all. cheers. Vincent.

​ It's incredible how many people ignore the importance of lighting when making "filmic" images, or any images for that matter. Lighting is more important than the camera, it can make the image of a "sub-standard" camera look much better than "the best camera ever" that was used without additional lighting. Obviously. Sony A7S is the best choice IMO (for your needs). Regardless of its's high sensitivity, don't ignore a set of lights either