Tim McC

The Second Signal was shot on a GH5 with a Sankor 16c in front of a Nikkon 50mm f/1.2 I want to thank Andrew Reid and everyone on this forum that has helped me over the years to figure out the technical challenges of shooting anamorphic on a budget!

I'm only selling my beloved Iscorama to fund a film project. I know I'm going to regret this, but sacrifices have to be made... https://www.ebay.com/itm/223577720513

I bought one a while back. It's cool and everything, but no replacement for actual anamorphic adapters. I'm selling it on ebay if anyone is interested.

Shot on the GH5 with a Sankor 16c in front of a Nikor 50mm f1.4

Sankor 16c with an SLR Magic Rangefinder in front of a Nikon 50mm 1.4

It's not a bug. It's a feature.

The difference is between a 5K 4:3 image (on the GH5) and cropping a 4K 16:9 image down to 3K (on any other camera).

Yes, you put both taking lens and Sankor to infinity and then focus with the Rangefinder. Otherwise, you'll be focusing the Sankor to your ballpark length and then finding focus with your taking lens. It gets easier with practice, but you'll eventually want to invest in the Rangefinder. Yes, you'll need an anamorphic clamp. I recommend the RedStan clamps. They are by far the best. Yes, to hold the follow focus, which was manipulating the Rangefinder. The Sankor is one of the cheapest vintage anamorphics you can find. It's the ideal place to start, especially if you already have a GH5.

I do recommend it. You can see that there is some slight vignetting at 50mm, so at 58mm on the Helios, you should be just fine. I like the white barrel flares, but not everyone does. I'm using a SLR magic rangefinder in front of the Sankor, so that helps a great deal.

Shot on the GH5 in 6k mode (it's really only 5k, but who can complain?) with the Sankor 16c in front of a Nikon 50mm f1.4.

I shot this film with the Iscorama Cinegon in front of a Nikon 35-70mm f2.8 on the Blackmagic Pocket (with speedbooster). https://www.youtube.com/watch?v=zUKUjofFbI4

I had the same question a few months ago, and ended up going with the GH5. I was specifically attracted to the anamorphic mode to use with a 2x lens (Sankor 16c + SLR Magic Rangefinder). The GH5 is the first camera I've used the Sankor with that got an acceptably sharp image. (And I don't have to cut off the sides, I can see the image de-squeezed in the camera, etc.) Yes, I would much rather have ProRes (or raw) files than the compressed codec the GH5 gives me, but the overall usability of the camera for anamorphic shooting is absolutely fantastic.

Digital Bolex is done, but we can still hope for a BMPCC that does 4K.

I certainly wouldn't buy a new camera in 2018 that didn't do 4K. But I think that there is still a market for an S16 sized sensor with film-like dynamic range, since there are so many lenses available that otherwise can't be used. Also, Metabones already has a speedbooster available for that size sensor. But I guess it comes down to technical limitations, overheating, etc.

I'm still holding out hope for a Pocket mk ii. S16 sensor size that records in 4k, ProRes and raw, with the same dynamic range as the current model. Improved battery life would be nice, but we can't have everything, can we?

I've found Nikon Ais primes to be the sharpest and sturdiest taking lenses. The 50mm 1.4 in particular is very useful.

If they could just put a Digital Bolex type sensor in a pocket body, for $1500, I'd buy one tomorrow.

The BMPCC was the best $500 I ever spent. I'd gladly pay in the $1500 range for a Pocket mk 2. that does 4k in prores, even if the sensor stays the same size. Higher frame rates (like the GH5) would be nice too. The BMPCC fills the niche that 16mm film left behind, and can use all the same lenses. There has to be a market for an updated version.

But will I be able to use my Blackmagic Pocket Speedbooster on this one like with the GH4?

I couldn't agree more. The reason why we wring our hands over tech talk, specs, gear porn, etc. is because we are so tantalizingly close (or maybe we're already there) to having tools at our disposal to make the kinds of poetic images that once could only be made with 35mm motion picture cameras and all the support systems they required.

Hmmm... That is interesting. Personally, I'd like a digital camera that behaves like a 35mm motion picture camera, or at least as closely as possible, for under $2000. I'm thinking it's ten years away or less.

Not any time soon. Light doesn't work that way.

That's the only zoom I've used that's sharp enough or fast enough. Generally, primes are better, but sometimes you need the flexibility.

The one I end up using most frequently is the Nikon 35-70mm f2.8 push pull zoom. That might be too wide for full frame, however.

Good choice!