Tim McC

I definitely like the look of full frame, especially on the Canons, but I don't need to worry about the 4:3, since the Iscorama is only a 1.5x squeeze. Since the minimum focusing distance (without diopters) is roughly 6ft./2meters, I wonder if a smaller sensor might be better since I need to be farther away from my subject anyways... Some of that mark iii raw footage is quite nice, though...

So, I have an Iscorama and a collection of vintage lenses (including the DSO Flare Factory). I've been shooting on the GH2, but would like to upgrade. Of the latest crop of affordable cameras (GH4, BMCC, A7s) which would make the best pairing with my set up? Thoughts?

A 2X Anamorphic with extra flares, lower contrast, etc. http://blog.theimagehunter.com/hawkvintage74/

Beautiful stuff here! Let's see those Iscorama outtakes, please!

This looks fantastic! What Nikon lenses did you use (aside from the 50mm f/1.4)?

This was shot on the hacked GH2 and was edited in Premiere. After importing the clips, I will change the vertical dimension to 50% on the first clip, and then copy and "paste attributes" to all the other clips at once. Individual clips will get some basic correction and grading later, usually mid way through the edit.

Thanks! Dual focusing can be tricky at first, but with practice it's really not that bad. It definitely helps to stop down to f/4, or f/8 in bright sunlight. Here is my most recent video shot on the Cinegon:

Thanks!

A Day at the Zoo with a Kowa Prominar 16-D in front of a Nikon (e) 50mm f/1.8 using the Redstan clamp.

I used the 60D (same or similar to S35?) and 35mm was as wide as I could go with the Iscorama. You'll see slight vignetting, but not a distracting amount. You might want to try the Nikon 35-70mm f/2.8. It's a push-pull zoom, so it won't mess with your anamorphic alignment. It also makes for some decent flares and artifacts...

http://www.youtube.com/watch?v=Aa9O5M7d17M&feature=youtu.be Shot in beautiful New Mexico with an Iscorama Cinegon in front of a Dog Schidt Optics FF58 (2.8 ovoid aperture). Some additional shots are with the Iscorama + a 200mm Vivitar lens...

This looks great!  I would watch this movie.

  Yes, please!  Where can I sign up for the FF35mm and FF90mm?

Here are some stills with a nearly identical set-up: http://www.eoshd.com/comments/gallery/album/95-new-mexico-ghost-town/

I'll take your word for it, since I never leave my gated community... ;)     But seriously, the movie does have a heavy dose of 70's style (I didn't see anyone driving a Hyundai) AND the book on which it was based (Cogan's Trade) was published in 1974, so there's a substantial link to that period.  If the director had more than $15 million to work with, I think we might have gotten a period piece.   However, I can see what you're saying about the on screen players being relics of a bygone era.  The off screen bosses (represented by "The Driver") are living in the modern world, while everyone else on screen is trying to play a new game by the old rules, and generally failing at it.  It might have worked for me if there was some more subtlety to it, instead of all the financial news BLARING on every radio in every scene, and Obama and McCain on every TV.  For instance, Brad Pitt's character puts down a (scratched-up) cell phone on the bar, like a wake up call to the kid who's living in a mobster's dream of the past.  He could have done something similar to James Gandolfini's character, some kind of "It's a new world" speech to try and get through to him, or just tell him to "Google it," or something along those lines.  The way it's played here just seemed awkward and a little too blunt for me...     But, Damn, it was pretty to look at!  Some of those images I just can't get out of my head... 

OK, Julian, you talked me into buying the DVD... and you were right: absolutely gorgeous!   Abstract anamorphic compositions and shallow depth of field combined with naturalistic lighting schemes to make a thoroughly convincing universe.  This worked really well with the rambling and very realistic dialog...   I couldn't help thinking that it would have been better set in the 70's, though.  The costumes, set design, choice of cars, etc. all screamed 70's.  But then all the 2008 election stuff in blaring on the soundtrack at all times which was strangely anachronistic.  It seemed as if the director wanted to place the movie in 70's era Boston, but budgetary limitations forced him to go with contemporary New Orleans, so then he decided to update the story to parallel the election and financial crisis at the last minute...  

  Is it?  Maybe I'm remembering it wrong.  Either way, it shouldn't be a big deal paired with a 50mm on the aps-c sensor.

Yes, I'd go with the redstan clamp over the Vid Atlantic, having used both with the Sankor 16c.     Your 50mm may have some slight vignetting at the corners, which you might find to be a charming effect or may cut off entirely if you crop to get down to a 2.35:1 ratio.     You're definitely not going to get a sharp image wide open, so be prepared to stop it down.  f/4 is a good place to start.     BTW, the more you stop down, the less vignetting you should see...

I've used the sankor 16c on a number of taking lenses and never broke any filter threads.  Unless you're running down the street with it, I wouldn't worry.  Which clamp are you using?

Thanks, guys!

Paulio: You don't see the youtube window?

This is a Kickstarter video I made for a friend:   http://www.youtube.com/watch?v=PBer7tq21Fk   I'm using the Dog Schidt Optics FF58 (f/2.8 ovoid aperture, no coloring) with the Iscorama Cinegon in front.  I'm liking the look--milky natural flaring from the sunlight.  The bokeh gets an extra boost from the ovoid aperture as well (so it mimics the bokeh of a 2x squeeze lens).  

If you use a small LED flashlight, and point it directly into the lens, you'll definitely get a flare.

Paulio: you should try the Nikon Push-Pull lenses.  They will stay focused to infinity and you just slide them in or out (some are backwards in this regard) for a nice smooth zoom.  Here's a video I shot with an Iscorama Cinegon + Nikon 35-105mm f/3.5 zoom on a Canon 60D...   http://www.youtube.com/watch?v=J5oKpiaeGVc

Here's my Sankor 16c with Redstan Clamp (the best, as we know) plus nikon 50mm pancake plus nikon to EOS adapter:   http://www.ebay.com/itm/221231647408?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649   You can literally take this set up out of the box and put it on your Canon camera and start shooting anamorphic.