Caleb Genheimer

Hey, fellas. I was going to post a new topic, but this seems to already be the correct one, just hope I'm not resurrecting a dead thread :) I have a mint-condition Kowa 16-H that I would like to get serviced. It focuses sharp and smooth, but I want to get some lighter grease put in it, because I am building a double-focussing wireless follow focus system and I want it to require as little torque to focus as possible. I'm also looking for someone who can put a nice Delrin focus gear on it. Is there a shop that can do both these things for me? I'm in the USA, and I'm looking for a reasonable turnaround time, not some fart that keeps my lens for months.

I just got a DROBO 5D, and I love it. Fast (USB3), well-built and pretty much idiot-proof.

Now for the all-important question: are your Redstan clamps RED? :P

Yeah, I love the gun shot one too, one of my faves. That quick pull back before firing the gun is the shot that convinced me that I'm never buying a rolling shutter cam ever again.

So, same bulbs, cheaper fixture?

Aw man, he's been working on this?! ;) I'm still waiting for an expansion to the FF58/TRUMP lens line. 2X anamorphics have been teased, and a set of primes, and "flaresex modules" (I don't even know what flaresex is, but I want it). I'm starting to look at $4K Iscoramas and $6K LOMO sets . . . It's fun to look at, but it makes my wallet itchy.

Yeah, I worked and reworked those a few times. Haven't taken another pass yet because I'm in the middle of switching editing machines. The new one should make things a bit easier.

You mean a name-brand Kino, or a knockoff?

I was at an AMIRA event last week, talking to the rep, it has the same sensor as ALEXA, which has just recently recieved an update to "Full Gate" (i.e. using the whole 4:3 sensor, no safe zones) . . . therefore AMIRA will more likely than not get "Full Gate" treatment at some point as well. On a side note, every camera manufacturer out there needs to go rent one and take notes. Copious ones. AMIRA is the best camera I've ever come in contact with, that's for sure. You're not going to strap it on front of your surf board, but for pretty much anything else, it's marvelous. I'm certainly hoping to rent one for a short film I'm planning in the not-too-distant future.

Here's what I got. It's mine, so you can have it if you want. I've already done this video, but it's just random extra footage that I had sitting around, I'd love to see it paired with some more intentional footage.

I'm sitting tight until I save enough to get into either an Iscorama or a set of LOMO squarefronts. I'd prefer the squarefronts, but only time will tell. I currently use a Kowa 16-H with Redstan clamps and the almighty Tokina ATX diopter, which I shan't part with any time soon. When I rent, I rent old Zeiss. Standards, or Supers if the budget allows. If it doesn't, then I've got a set of Tamron Adaptall-II primes that perform adequately in most scenarios. I hate fly-by-wire with a passion. I am not a zoom man (mostly because they're all fly-by-wire AF these days).

Well, here's one I did with Resolve. I battled Vimeo tooth-and-nail with this one, their re-encoding was doing some seriously strange stuff to it. I ended up screenshotting the Vimeo playback, and correcting the screenshot back as close to "target" as I could. Then I applied that correction to my footage and re-exported/uploaded. It's fairly close to my intentions, but still not exactly what I see in Resolve or in Desktop playback of the file. The video isn't really released public yet, so keep it on the D-L. Password: Danger Dave

I love me some Kino, TBH. The light out of those suckers is so unique. Soft, smooth and . . . IDK, permeating? (Best word I can think of to describe it). It's like having a cloudy day on hand in a couple tubes.

Almost all GH2.

Get both front and rear clamps, well worth the extra price. I have the same lens you have with Redstan clamps. Having the Redstan clamps with the anamorphic will increase it's resale value considerably, should you be worried about such things. Ask him if he still has 0.4 ATX Tokina diopters for sale. They're the best diopter out there, and they're not getting any easier to find. He had some when I got clamps, so I got one, and let's just say I'm never getting rid of it, even if I do upgrade anamorphics.

This, right here. Blackmagic just took a dump on everything offered by the competition that's north of $6500. I mean, I have to essentially factor in a 1080p monitor, an audio field recorder and a v-mount battery solution if I compare the URSA to anything else. Add to that the (likely) ability to upgrade my sensor . . . wow. URSA is a heavy woman, but she sure as heck ain't lacking.

Geeze, lay off it a bit. Everyone's rather polarized here. We haven't seen jack squat out of most of these cameras, GH4 and A7s included. 1. Just because the GH4 does 4K and is a lightweight Mirrorless doesn't mean there's no place for a 7.5KG camera. 2. This new URSA, as Andy Lee pointed out, ticks an awful lot of boxes, even if it is heavy. 3. It ditches that darned awful BMCC form factor. 4. I see physical buttons, thank the Lord. Let's not condone or condemn a thing until all this has been tested in the field.

Ugh. Sorry, I'm not even a Blackmagic user, and I'm miffed. It was my understanding that the Production Cinema Camera was their "studio" cam. It is, after all, 3840x2160 (AKA UHD, NOT DCI 4K). THey do need to reign themselves in, it's getting ridiculous. They need to leave the EOS mount in the dust, IMO. It's a relic from the days when we needed mirrors on our cameras. For stills, it makes sense. For video, it is a lens adapting nightmare. Where are the built in ND filters? Mirrorless mounts? 4096x2160 resolution?

Where are you at with these? I should note, that when I said I'd pay $1500, i meant for an anamorphic adapter. I would assume the DS primes would come separately, at their own price-points. I badly need a set of matched lenses!

Andrew, IMO, Blackmagic needs to just have all their cameras available in one mount. I get that Canon is the logical choice for many, but others want short FFD. Why not EOS-M mount? Id think thatd fit the bill in both cases quite nicely.

I'm eager for that 4K Blackmagic camera to really get out in the wild for a few months. Its two features short of my "perfect camera", and I suspect that, given enough money, certain shops would mod it for me. If I can get that EF mount modded to something shorter for a grand or two, I'd be happy. If the new mount included some sort of ND system (even just a slot I can drop small circulars into), I'd be over the moon. S35, RAW with global shutter is a trifecta impossible to ignore, especially at $4K.

This is what I've been waiting for. 25mm at f2?! I'm there.

For me, I love the look coming from your DS lenses, and would love to see an anamorphic with a decent squeeze (no 1.33X BS) added into the mix. BUT . . . I need a set of lenses that match. This above all else is what I'm looking for right now, a set of at least three matched lenses faster than f2.8. If you can muster a couple more lenses in other focal lengths, to go along with the FF58, I'd be VERY tempted. If you add to that set a single-focus anamorphic (or anamorphics), you've got me, hook line and sinker for $1500+, no question.

Depending on the price, this is going to really tempt me . . . even if I personally prefer a 2X squeeze and the amazing bokeh that accompanies it. As for flares, I guess I voted blue, but in reality, what Id like to see is a deep navy blue extremely stretched oval directly from the light source with a teal blue (almost green) streak opposing flare (the one not by the light source). iIf you can pull those two things off in good saturation, the correct selection of a taking lens will fill in the gaps (rainbow, blue/green ovals, even yellow or gold ovals, which are my personal favorite when mixed with the blue streaks).   Have you given any thought to a neutral density component (either within the anamorphic itself, or as an accessory for inbetween the anamorphic and taking lens)? One of the big challenges Ive faced while shooting anamorphic is that a ND on front reduces the anamorphics response to flare. I almost always still opt to use one so that I can shoot without stopping down, but if I could have both Id be extra happy.    If the flares are too thin, spindly or unsaturated . . . . just suppress them. Another bane of the current 1.33X lenses seems to be this problem as well. 

This is awesome. hope it works. Could be tricky seeing as anamorphic optical alignment of elements needs to be very precise.