Leaderboard

Finally got some new products out by this year. When busy with the Rapido Mod project, realize I would need a real solid clamp for adapting larger anamorphic lenses. Thus, here comes the Clamp V2 with rail support. This clamp is designed based on the original M67-M77 verion of the clamp with additional features: 1: Anti-slip feature, the front of the clamp has standard 82mm male thread, and a lock ring is screw on to prevent the anamorphic lens from fall off during adjustment 2: Rail support feature, the external ring is connected to a beam, which can be assembled with standard 15mm rail based lens support bracket, like the one from Neewer, to provide rail support of the anamorphic lens. 3: Additional mounting options, the external ring has multiple standard M4 screw holes, which can be used for mounting additional accessories, like monitors, and etc. 4: Fast & easy change of anamorphic lens or taking lens, loosen the lock ring and three screws, the anamorphic lens is ready to be slide off from the clamp. Changing another taking lens is possible without readjusting the front anamorphic lens, just loosing the lens support bracket, and unscrew the taking lens from the camera, then you can screw in another taking lens to the clamp, and carefully locate the lens mount into camera. 5: Compatible with your existing step down/up rings, you can reuse existing step down/up rings, and pair them with this clamp. Say, you purchased a package before from us for your KOWA B&H lens, all you need is the V2 clamp to work with your KOWA and taking lens. No additional purchase needed. Following is the setup process using Rokinon 85mm as taking lens, pair with Hypergonar H.F. 2X anamorphic lens on GH4 camera: Step 1: screw the correct step up ring on the taking lens Step 2: screw the external ring onto the taking lens Step 3: assemble the rail support onto the external ring, having the beam pointing down Step 4: attach the lock ring onto the anamorphic lens Step 5: screw the step down ring onto the anamorphic lens Step 6: secure the camera on the rail Step 7: attach the rail support to the Lens Support Bracket Mount Clamp from Neewer Step 8: slide the anamorphic lens from front, and screw the lock ring onto the external ring Step 9: adjust the orientation of the anamorphic lens by rotating the anamorphic lens Step 10: lock down the anamorphic lens by tighten three M4 screws

Time for a game of guess the camera! Which is XC10 and which is Magic Lantern RAW? (I've downsized these so resolution advantages aren't apparent.) If you need a hint take a closer look at the camera strap. This is good news for me as it means I can match the two closely enough. The 5D3 was shooting in crop mode so DOF is more or less the same. Interestingly there is a difference in exposing the two cameras. I have to close down the 5D3 by about one stop to reach the same clipping point as the XC10 when they are set to ISO 400 and 500 respectively. In other words, if I used the 5D3 to set exposure and ETTR, and used the same settings on the XC10, the XC10 would be one stop blown out in the highlights. I'm not sure what the implications of this are.

Hey, it's been a while since I last updated this thread! Lots and lots of new videos and a couple articles. ANAMORPHIC ON A BUDGET - BELL & HOWELL PROJECTION LENS http://tferradans.com/blog/?p=9046 ANAMORPHIC COOKBOOK - BUYING YOUR FIRST ANAMORPHIC LENS http://tferradans.com/blog/?p=8591 CHOP SHOP - 3D PRINTING FOCUS GEARS http://tferradans.com/blog/?p=9249 ANAMORPHIC ON A BUDGET - FM LENS http://tferradans.com/blog/?p=9238 ANAMORPHIC ON A BUDGET - BELL & HOWELL ANAMORPHIC MOD http://www.tferradans.com/blog/?p=9316 ANAMORPHIC CHOP SHOP - BOOSTING UP ANAMORPHIC FLARES http://www.tferradans.com/blog/?p=9329 ANAMORPHIC CHOP SHOP - ASSEMBLING THE FM LENS http://www.tferradans.com/blog/?p=9376 ANAMORPHIC CHOP SHOP - HACKING THE FM LENS http://www.tferradans.com/blog/?p=9409 ANAMORPHIC CHOP SHOP - ANAMORFAKE AMBER SET (37/58/85) http://www.tferradans.com/blog/?p=9362 ON A BUDGET - FOTODIOX FUSION ND THROTTLE AUTO ADAPTER http://www.tferradans.com/blog/?p=9444 ANAMORPHIC CHOP SHOP - HELIOS EXTREME MOD MK II http://www.tferradans.com/blog/?p=9379 ANAMORPHIC CHOP SHOP - PANASONIC LA7200 FILTER HOLDER http://www.tferradans.com/blog/?p=7873 ANAMORPHIC ON A BUDGET - SCHNEIDER ES CINELUX MC 2X ANAMORPHIC http://www.tferradans.com/blog/?p=9383

I've used it with a Shogun and Pix-e5h. I can't see any quality gain over the internal UHD 305 codec but haven't done any motion tests. I tested it to see if I could eliminate banding in blue skies but it didn't improve. ( HDMI out is 8 bit and not 10 bit)I found ETTR not the best way to expose for C-Log. Firstly the zebras are on the green channel so you can clip other colours ( inc blue skies) and mainly because the image just looks better to me about 1 stop under ETTR and the banding is under control. The banding is a bit of a shame and I don't get it with my A7s S-Log HDMI out which is also 8 bit. One good reason for an external monitor is to have scopes which I hear they have introduced on the new x15. Probably no technical reason they can't do this with a firmware upgrade but I guess they won't for commercial reasons. One thing I hate ( And on the A7s) is the lack of a quick WB set button. I would just like to point it at a grey card or pop on my expodisk and press to set the WB. This camera generated so much hate when it came out but is now gaining a lot of respect due in no small part to a superb C-Log / 305mbs codec and the now sensible pricing ( the launch price was just ill judged). Couple of tips; don't stop down past f8 in UHD or the resolution drops off due to diffraction. it can't trigger the recording from the camera on the video devices recorder but it can with then Atomos. ( kind of pointless putting a monitor on it anyway as it ruins it's compact point and shoot nature) I'd also like to see user selectable NR and more options for assigning functions to the buttons.

I spoke with Billy at the Fuji booth at PhotoPlus (NYC) on Friday - compliments and feedback on the XT-2. He asked how the XT-2 has changed my work and obviously I talked with him about video and that the camera was "almost" to the point that for certain events, I could use it exclusively for photo/video vs. always bringing my C100 mk. II and using the XT-1 for stills. I emphasized the shortfalls for me was the lack of exposure tools in video to which he was very acknowledging - "That's a priority for me too." I also mentioned the desire for internal FLog - "We are hearing that from everyone..." He will be in Tokyo next month and said he would be bringing two months of feedback with him. His tone was appreciative and optimistic. It was clear to me that they don't feel at all complete with camera's video as it currently stands.

Nice. Looks quite natural. Regarding the focus hunting on the Fuji, I heard that when Face Detection is On that the camera stops using Phase detection and resorts to contrast detection, which might be the reason it keeps hunting like that? Could you test this out?

The focus ring is certainly usable on the 50mm f/1.8 for manual focusing, but it doesn't feel as good as the AI-S. Difficult to be precise if you want to rack focus or such. You could also buy a used 50mm f/1.8D. The used prices on those lenses have been roughly the same for 7-8 years - so if you're not happy with it, just sell it for the same money and get the 50mm AI-S f/1.8 instead. Just don't pay the extra price premium for the f/1.4D, the extra bucks aren't worth it. Also, keep an eye out for the AI-S 50mm lenses, sometimes there's really nice ones to be found for nearly nothing. I found mine for about 50 euro - in mint condition.

Here is my first attempt to intercut the XT-2 with my C100mkII. I had hoped to have the XT-2 as a companion in this way and I'm pretty happy about it already. Camera settings in the video and more info in the description. Short report is that I used Wide DR and ProNegStd dialed down. I shot the XT-2 in 4K. pswd: twocam

So little love for the old 35mm f1.4. I loved that lens both wide open and closed down. Will probably buy it instantly if I get another Nikon (d760).

It's really that bad. But it's also really cheap and i use it a lot for stills with the D750 since the glass is pretty sharp and the AF amazingly fast for the price. For video I only use AI/S glass, because the focus feel is essential for my taste. Nonetheless I'd like to get a VR zoom lens as an all rounder for more casual stuff but I can't afford any of them right now... And I've been there myself regarding Nikon's image. I've had Canon, Panasonic, Olympus and Blackmagic cameras and there is something about the dynamic range, color and cleanness in that small but robust file that makes me love my D750. With all the recent camera releases and announcements I've been considering switching to the A6500, the EM1 II or even the XT-2... but when I make an overall analysis of the trade-offs and my personal priorities, I cannot find a good reason to let the D750 go.

I also have both S lenses and man, the 50-150 is so good. Grab one if you can, it's great. It's also lightweight for a telephoto zoom.

You can get generic tripod collars off ebay cheap. The one below is less than $6, search there are tons of them, you can probably get one off Amazon if you need it quick. The A7s chassis isn't a one piece design, I wouldn't hang a zoom off it without a collar attached to the tripod plate. http://www.ebay.com/itm/70-200mm-f-4L-IS-USM-Lens-Tripod-Collar-Mount-Ring-A-W-for-Canon-EF-/381809716585?hash=item58e5a1ed69:g:TeoAAOSw8w1X~PEY If you don't want to go that route, get a rod/baseplate/lens support from any rig maker. If you search there are plenty of DIY solutions that use easy to source hardware, all you need is a clamp, something to protect the lens body from being scratched and a couple of bolts. You can do it for less than the $6 collar linked above. I'd err of the side of caution and fabricate something or wait to use the lens until you have decent support.

Rather than being a criticism I'm just saying that information is sparse and video doesn't mean much in terms of optical quality. My experience with these has as I said been with cheaper ones like the Opteka, Polaroid, and no-name ones floating around. I assume one that they charge a thousand for will be better. I just don't know how much better. You don't need to try and convince me, I will see if I can search out sample raws or the like. This kind of thing is also difficult because I don't always know the lens used, I gave your adapter the benefit of the doubt since I know that lens isn't good to start out with wide open, so to me the performance is still a bit of an open question. On the Canon front, I have acquired a 400 f/2.8 already (used, for significantly less than the 300 f/2.8 you mentioned). Even at no loss of light the Samsung is an f/4.2 equivalent, so with the adapter it works out as a 405mm f/4.2 equivalent, right between my f/5.6 and f/2.8 lenses at just about the same focal length. Which is quite nice so long as the quality of the adapter is as good as I would like, the price also falls in between. I could try it, I guess the only risk is the shipping cost back to B&H or the like if I don't find it satisfactory. I don't really need it though (aforementioned Canon lenses). Might be worthwhile for Marco depending on the how good it is.

I think it's still in the same league as other smartphones like iPhone 7 Plus, LG V20, etc.

You would need a real solid lens rail support for sure, for this type of experiment, check my new V2 clamp with rail support, :-) http://www.rapidotechnology.com/products-services/rapido-anamorphic-lens-clamps-with-rail-support

Shortening the distance between the front & rear anamorphic lens will not only change your squeeze ratio, but you will loose infinity for longer focal length taking lens, because you have changed the afocal arrangement in the original design. You have to be very careful in picking your taking lens. Adding diopter in the front is more universal. :-)

Thanks Kisaha, I totally agree about keeping sets from the same manufacturer for optical qualities consistency. And I agree about the ultra wide angle... I was looking for people who may have some experience with those specific ultra wides so I could choose between the 11-20 and the 14-20mm. I haven't come across too many modern Nikkor prime lenses that offer a smooth manual focus ring, and since I love the look of my ai-s lenses, I've decided to keep my primes all manual. I have the two manual Tokina zooms, which I like a lot, I just don't have an ultra wide, or even a fairly wide... With the crop factor of my 24-40mm, I'm sitting at 36mm with my wide end... So hopefully one of the aforementioned zooms can fill in the ultra wide to wide range I am missing. Thanks for the heads up on the Sigma 17-50mm... I'll keep an eye out for one.

All SOLD.

BTW I think with the new Nikon E type lenses, the aperture can be controlled in liveview on bodies that previously couldn't (i.e. d3xxx, d5xxx and d7xxx). Or am I mistaken?

The other thing that always makes me worry is that most of the people reviewing are doing video, and the video shown was 720p. 1080p is only ~2 MP.... how can I review critical sharpness at that? 4k, is still only ~8 MP, my intended output in this case is 28 MP... so I think you see my reason for skepticism when I have nothing to evaluate these properly. For lenses DXO usually gives me at least a relative idea if I can't find one in store, but discussion of these adapters is still too sparse for my liking. Might bite anyway eventually.

You have to consider the 1.53 crop factor that your camera has. A 28mmx1.53=is closer to standar than wide-ish. So, I would advice you to spend most money on a ultra wide zoom for starters (as most of the focal lengths are covered already).Another thing to consider is the different optical qualities all these different brands and lenses have, it is wiser to "invest" in sets of similar behaviour. I have FD and Pentax of similar years (and a few oddballs here and there ofcourse, we all have!). Another thing is that newer lenses are better optimized for newer sensors, so legacy lenses is not always a panacea. It is tempting to buy a loy of cheap old ones, but consider a couple of very good modern lenses with image stabilizer/AF and other electronic modern goodies. I heard from my Nikon friends that the 17-50 and 17-70 Sigmas are good value for money, and in your post, most of the lenses are overlaping one another.

I have shot quite a bit with the 50mm AF-D f/1.4, 50mm AF-D f/1.8 and 50mm AI-S f/1.8. Optically, the two f/1.8s are very similar in sharpness, but the AF-D has different flaring/ghosting characteristics (both look good, just behave a bit differently). The AI-S focus ring is certainly better for video. Only go for the AF-D if you're going to shoot stills and want the AF and metering as well. The 50mm f/1.4 AF-D is a decent lens, but it's very soft at f/1.4. A bit better at f/1.6, really nice at f/1.8. If this lens would break I wouldn't bother buying it again. I'd rather go for the AI-S 50mm f/1.8 or the AF-D f/1.8 - or for stills either of the new 50mm G lenses. Also, with certain directions of lights (shining nearly directly into the lens) it has a nasty type of ghosting wide open. It's rare, but it is nasty when it happens. The 50mm f/1.8 AF-D is much better in that aspect. Mechanically, I far prefer the 50mm AI-S over the E-series lenses I've tried. I think they're identical optically.

And hella expensive, lol. I've always been a bit skeptical of these front mounted ones. It's true there is no loss of f-stop though you will lose some t-stop (hopefully quite minimal). I guess just most of the ones I've seen are pedalled cheap on Amazon and E-bay as a long range panacea but are actually of horrible optical quality. I know a few of the camera brand names have made some that are purported to be quite good, but they weren't in the filter sizes I wanted as they were made for particular cameras, sometimes even being the same size but with a different thread pitch. It's not often that I come across any concrete information on these so it has been hard to separate the wheat from the chaff. This product and the Raynox DCR 2025 Pro both seem to be quite well reviewed though. What makes the HDP 9000EX so much more expensive? Is it almost entirely due to the size (fitting 62mm threads for the 2025 and 72mm for the 9000) and lower demand? I'll look into these Raynox ones a bit more but will be continuing my other project anyway, I'm having fun with it and I already have a bunch of Canon lenses.

Hey man. Check out Tito's FOV calculator; it lets you know whether a lens will (probably) vignette or not: http://www.tferradans.com/blog/?p=8615 wider than 50mm on S35 is difficult with a 2x stretch; 1.5x or 1.33x will give you more options (but obviously less oval bokeh unless you use an oval aperture). the larger the anamorphot's elements, the wider you can go with your taking lens. Hence the popularity of Kowa B&H/8Z/16H/Elmoscope II (all the same build and size). The SLR Magic anamorphot 2x-50 might also get you wider than 50mm but it's expensive and flares blue like crazy. to get a feel for flare colours, try to look up video examples online. The Sankor 16C you mention is nice and sharp, but has mostly blue coatings and thus blue flares. Also, you can ask a seller to take a picture of the lens under an angle with light source overhead to get an idea of the colour of the coatings. the coreDNA will introduce extra vignetting; ask around in this thread for user's experience listed mininum focus distance for the coreDNA is 0.7m; if you need more you can add a diopter in the mix or set both taking lens and anamorphot to minimum focus distance

Thanks, I would agree on this being much more suitable for my gm1 than the big one. Not an a7r, the original Crane does that. Some m4/3 cameras sure. Maybe a Em10ii or gx80. But you have to check the weight. Batteries included as well as USB-charger on both. Dont know their names, look like over sized AA, thinner than A.

I have not experienced this with my XC10 (with the latest firmware). I just did a quick test with high ISO and IS enabled. No issue.

Buy an old laptop. Mac or PC. You may not want to use a laptop, but it's reliable and cheap.

I don't want to discuss if is better 1080 RAW or 4:2:2 4k at the end is up to personal preference. The op askedt about 1080 quality and we all know that is not the greatest but you can easily downscale the 4k image for a very good picture quality. My point is that people that never have used a 1dx II or 5d IV continue to complain about the MJPEG saying it is cumbersome, old, whatever... but in fact you can open a 4k 60p MJPEG directly in Resolve from the CFcard do some cuts and grading and render it to 1080p obtaining a very sharp image without any transcoding or even coping the file on a local SSD. In Resolve is way faster to edit at 4k MJPEG than a 4k h264. So it is sure not cumbersome, it is just big but don't tell me that 5D RAW is small. I can tell you that is even much easier to edit 4k MJPEG than C300 II XF AVC in Resolve (no native support).

Shot on the GX85

I feel I've incrementally thrown way too much money at the BMMCC to get it functioning - vintage super16 lenses, SmallHD 502, Small Rig cage, rods, Mattebox, IRND - and now looking at shouldermount/lanc trigger options. Still most of this stuff can/will be used for other rigs in future so if you look at it as brain only, it still works out to be good value..

Used mine to record this video in Cuba. Never overheated ...

Played around a second. Nice footage might be worth a look if they ever release the camera

If you don't need the 60p, for $500 the BMPCC is amazing.