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Caleb Genheimer

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Everything posted by Caleb Genheimer

  1. Caleb Genheimer
    Yeah, no kidding! Where are we at with the whole discount thing?
  2. Caleb Genheimer
    It's among the best animorphics. Only the Ultrastar-type lenses are sharper, and they can't go as wide FOV-wise.
  3. Caleb Genheimer
    Also, what's up with the flare hate around here?! Everything in moderation, fellas :) Just because the new Star Trek had too many flares doesn't suddenly make them bad, just like everyone and their mum shooting on DSLR didn't make shallow DOF a bad thing either.
  4. Caleb Genheimer
    Really, it's a bit apples and oranges. Sure, they do similar things, but not altogether the same things. I think as Rich pointed out, DSO is PERFECT behind an Iscorama. The 1.5x is more practical, but its effects less pronounced, and that's where the DSO lens can help with its oval aperture. I'm very happy this FM lens is a possibility though, because (as Rich said), the cinelux are very sharp, and it'd be a dream to single focus one of those bad boys on front of my C/Y Zeiss glass and one of those new 4k cams
  5. Caleb Genheimer
    Not to bash DSO, though. If there ever is a full set of lenses from DSO, I'll be the first to buy 'em
  6. Caleb Genheimer
    There's some mojo there in the real thing that can't be faked. Squeeze is varied throughout the focus range, there's some interesting compression and decompression as a real anamorphic racks focus. Also, I don't care how fancy your streak filter is, it doesn't look anything like a real anamorhic flare. There's a real hassle to working with the real-deal lenses, but we do it because it can't be faked. Hopefully sooner rather than later, there will be practical animorphic solutions. There are lenses from SLR Magic, as well as focus units for use on projection lenses, from Rectilux and FM.
  7. Caleb Genheimer
    Count me as interested
  8. Caleb Genheimer
    Well, what the projectors prefer is what I'd call "standard". Per the wikipedia page on DCP (Digital Cinema Package), 4096x1716 is a common standard, which is on the narrower side, weighing in mathematically just a hair below 2.39:1. RED should really stop pretending like they're the trend-setters ;-) http://en.wikipedia.org/wiki/Digital_Cinema_Package
  9. Caleb Genheimer
    Anamorphics were designed for shooting wider aspect images without loosing resolution, Andrew is correct. Film was 4:3 (4-perf), and they didn't want to change the film width as that would mean new cameras. And they didn't want to crop down to 3-perf as that would be A loss of resolution. So they created anamorphics.
  10. Caleb Genheimer
    I don't need to download any 4K files to know that this thing is going to start floating around on quite a few 3-axis gimbals and multi-rotor copters ;-)
  11. Caleb Genheimer
    FINALLY. A modern, truly anamorphic adapter (2X is the real deal, IMO). Two important things remain to be seen: 1. Does it resolve enough detail for use on these new 4K cameras 2. How close can it focus There's also a slew of less-important stuff for the anamorphic connoisseurs: type and quality of the flares, performance at fast f-stops, maximum and minimum lens FOV compatibility,etc. But overall, a BIG thank-you to SLR Magic for stepping up to the plate with a true 2X lens. 'Tis the thing of dreams.
  12. Caleb Genheimer
    Yay focus pull on a 2X adapter! What's the ballpark $$$ to get a lens that I already own converted? (I have a 16-s)
  13. Caleb Genheimer
    Suggestions to use these on the a7s are completely nonsensical to me. Isn't the whole point to have a fullframe camera?! Why put it in APSC mode, is full mode really that atrocious because if so, you're adding an extra $600 price tag by getting a speedbooster to an already expensive camera. I'm hoping that Panny/Sony come out with video form-factor versions of the GH4/a7s pretty soon (think AF100/FS-100).
  14. Caleb Genheimer
    I'm going to say Canon Electronic. Say what you will about Canon's cameras, but their lenses are very good, and widely available. If you do paid gigs it's certainly the Canon, their lenses are widely available to rent all over the place, not to mention CP and ZE Zeiss lenses. IF you end up in a pickle, you can call rental houses and find an EF mount lens last minute, no problem.
  15. Caleb Genheimer
    Don't listen to the low-squeeze heretics, 2X squeeze is where it's at :-) I'm really excited, but I need to see how well it holds up at wider apertures, with shallower DOF, when pulling focus. Could this be adapted to other projection anamorphics? If so, the Kowa 8Z/16-H is IMO the best 2X out there. It goes the widest, and is very clean and sharp. Also, if you can, a more professional-looking clamp/rod riser setup would be awesome. I'm not saying yours is bad, but I'd definitely drop a couple hundred dollars extra for a premium setup. I've always thought that it'd be cool to have the anamorphic mounted to the rods on its own riser, with a nifty little elastic drawstring cloth at the back that goes around the front of the "taking" lens to block out light. Also, PM me if you want advice on electronic follow focus devices. I've sunk around $1K into building a wireless follow focus from scratch, so I've got some experience.
  16. Caleb Genheimer
    Is it single focus really, and if so how is that achieved?
  17. Caleb Genheimer
    Didn't buy any speedboosters because I knew this had to be coming eventually. Glad to see it's finally here, and can't wait to put my C/Y Zeiss f1.4's on front of this puppy!
  18. Caleb Genheimer
    I don't have his Isco clamp specifically, but I have another of his anamorphic clamp sets (front and rear). As I understand, all his clamps are exact-fit to specific lens models. Mine fit perfectly, and are the best quality out there, bar none.
  19. Caleb Genheimer
    I don't need flares, I could care less about flares (which means I actually care at least a little bit) In my experience, EVERYTHING flares, it's just a matter of how hard you've gotta hit it in the face. The lenses arrived today, and holy smokes are they awesome. A very lazy test with the 50mm tells me they'll work fine with the KOWA. I get some fringing and hazing wide open, with or without the Kowa, but down at f2.8 things start to get sharp, and by f4 (my favorite stop most of the time), they're gorgeous. I understand what people say, that simpler optics "work better" with anamorphics... But I'm not sure that's 100% true. I have the Konica 40mm f1.8, which (other than the Helios) is the most lauded lens for Kowa pairing... It works well, yes, but it's just not a solid, dependable lens like these Zeiss bad boys. I also have a suspicion that my Tokina diopter could improve things somewhat, and possibly a speedbooster could too, who knows.
  20. Caleb Genheimer
    Oh, trust me, I know ;) Kowa 16-H is the best bar-none. I've got a 37mm MIR-1b, a Konica 40mm as well as 24mm lenses in FD mount from Canon and Tamron . . . so I know how wide it can go. My plan is to eventually snag a 35mm f1.4 C/Y Zeiss, as well as a longer lens (probably the f2.0 135mm) . . . along with an appropriate speedbooster from Metabones. 5 lenses from 35-135mm strikes me as a pretty complete set, and with the speedboster, it's kinda like having 10 lenses. I'm also in the final stages of development on a wireless follow-focus system that sync-focuses the prime and the Kowa, using Arduino-controlled stepper motors commanded by an Android app. But I'm keeping it mostly under wraps until such time as it's fully functional, at which time I'll do a nice write-up with instructions to make your own.
  21. Caleb Genheimer
    @araucaria plastic bokeh? Are they a bit sterile looking, then? @ken under 80mm? so I'll have trouble with long lenses?
  22. Caleb Genheimer
    Hey, All! Does anyone have experience using a Kowa with Zeiss C/Y lenses? I've recently purchased an AEG 85mm f1.4 and a 50mm AEJ f1.4, both of which are in-transit. I know that for non-scope work, they're tough to beat image quality-wise, but do they play nice with anamorphics? Just curious if anyone has any examples of this type of anamorphic combo. I poked around a bit and didn't really find anything.
  23. Caleb Genheimer
    16h and 8z are the same lens, and the best out of those types of projector lens, as they're tack sharp and accommodate wider FOV taking lenses. The 16d will be similarly sharp, but can't go quite as wide (same deal with the Sankors).
  24. Caleb Genheimer
    Most editing software should be able to desqueeze your anamorphic footage. I don't have a Canon camera, but the advantage (specific to anamorphic) of shooting with ML is the aspect ratio features. ML allows you to shoot 4:3 instead of 16:9, which can be helpful in keeping the unsqueezed ratio from being to extreme (with 2X anamorphics on 16:9, you end up with a 3.55:1 ratio image).
  25. Caleb Genheimer
    I have a Kowa 16-H and optically, it'd be pretty tough to beat. I can get down in the neighborhood of 28mm on my GH2's oversized M4/3 sensor if I'm cropping to 2.39:1, and it's tack sharp. Built like a tank. The flares are gorgeous, and can look anywhere from StarTrek stark to Old LOMO, depending on the taking lens. There's so much flexibility to be had by changing taking lenses, that as an upgrade I'm developing a synchronized focus system for my Kowa instead of swapping it for the Isco/LOMO route.
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