richg101

I'm shutting this thread down for the good of the forum since its job is now complete. Anyone who has added their name to the list or has yet to do so, please contact Commurit via PM. I assume he has provided the list to the manufacturer.

She's in my basement tonight. The last time i saw her I came down with flu symptoms shortly after. Apparently ther eis something wrong with my immune system. - maybe get a checkup yourself.

Your opinion isn't valued here since you've already indicated that you are not buying one. Stop spamming please

great that its finally available. I have a couple of cineluxes that will have to be put to good use finally. also great to see a 14 day money back guarantee. That shouts out honesty and their trust in the product. Good news for 'wheeler dealer' types who lurk here... if they can't shift it on the open market at an inflated price within 14 days they'll be able to get their money back. - no loss! hahahaha

with niche items it takes a certain person to go ahead and actually develop and manufacture such things. There are a million ideas men, only 100 of them have the balls to put money into those ideas rather than sitting in an office with a manager dictating their success., and only 10 of those 100 have the ability to put everything in motion and actually deliver such items. We're a limited market and should be thankful someone is going through with this! Most people spend their money on new mobile phones and eating out / drinking themselves to death in order to forget their boring lives. If these things weren't being made, we'd be doing the same as the masses.

full frame dof + dog videos? nah. grab something with deep dof so they're in focus. seriously good quality video will not be included in the mk4 canon since it would then devalue their cinema eos range.

this topic makes me laugh. It's like a high powered electroneodymium magnet attracting all the loser fanboys of the tech world into one place! It's almost as powerful as a topic where a load of windows users jump on an apple user after bringing up the subject that windows pc's crash 1000% more regularly than the same apple machine. Arguing over mobile phones as if they're in some way connected to the company! The funniest thing is that most of the people who get passionate about mobile phones have no friends to talk to on them. I'd hazard a guess that the same moaners here have at one point or another camped outside a shop to be the first to own a new piece of tech. It's the lowest form of existence IMO. Personally I was considering getting the CM1 if my provider offers it as a option. Being a user of a 3yr old Samsung disaster I doubt the lack of features on the phone side will affect me. This seems like a camera that lets you make calls on it rather than a mini tablet that lets you hide from communicating with real people. If i could make a call on my A7R I'd probably never take my phone out with me. I also rather love the physical design - it looks old (in a good way). Coin toss for me I think

I'm always a bit apprehensive of a marketing campaign which uses lines like ' real cinema glass, don't accept stills lenses in cine clothing' and similar. I and most of us know there is no magical hocus pocus that makes cinema lenses more cinematic other than the fact that they tend to be designed to limit breathing during focusing. Unfortunately if a lens doesnt breathe, it usually also lacks that character that takes us back to the golden days of hollywood blockbusters. As mister Hurlbut talks about when comparing lenses in his recent video about how non three dimensional modern glass is - attempts to reduce breathing and distortion also cut down on the physical 'look'. This said, if they are based on high quality c-mount lenses this is actually a good thing and might introduce some much needed character into a world of over clinical native m4/3 mount glass. Since c-mounts tend to be designed to deliver high levels of tightly packed resolution onto a very small imaging area they often have been over engineered to cover a much greater area in order so that the best portion of the lens is used for the sensor. When used on a bigger sensor than they are intended you start to see the same magic as you do from fast full frame glass used on full frame sensors. Part of the magic of a fast 50mm on full frame is that it is being pushed to it's absolute limits. The magic (if there is any) from these new lenses will originate from the same theory of lenses being pushed close to their limits. They'd better select historic coating processes though! new coatings - as are commonly found on industrial c-mounts are a real nightmare for skintones!!!!!

Boom! Thanks for signing up to provide this. lovely looking box for my purposes

The processes and time and care that are applied to each FF58 are beyond your comprehension. It's a moot point.

Keep going and you will be banned.

There's no point in you buying one anyway. Other than for the obvious point that you'll just try to relist it on ebay for an unrealistic price at a later date like we see from you all the time. The reason you don't like the setup is because their mentality is a 'fair days work for a fair days pay'. Improving the community by actually producing something innovative, niche and well priced. Yours on the other hand just takes from the community by pilfering the market then spamming with ebay adverts of the relisted, usually over priced goods. This activity only serves to inflate prices of anamorphics making them inaccessible to most people here (I imagine you;ve probably sniped most of us here at one point or another). You very rarely contribute anything else. http://www.ebay.co.uk/usr/ioannis-aix You have multiple copies of lenses for sale meaning your purpose is resale rather than collection or use. From now on I'll be watching your contributions here more closely. As a moderator I'll be hoping to see at least one helpful thread or post from you for every ebay link you post. Hows that? Lets make this place productive and creative rather than a place of business!

I have a 35mm curtagon, but it's a early 1960's exakta mount. That has great flare, but it;s very sharp - or as sharp as i expected, and the focus rotation is the wrong way (nikon direction). I think the later curtagons you;re talking about cover full frame. they're m39 mount i think? the old schneider exakta xenon 50mm f1.9 is a killer 'normal' lens with character and sharpness. can be found in m42 as well

Helios 44 / FF58. Full frame is best since it uses the most of the lens's image circle and thus more of the character caused by limitations of the design show up. Canon FD lenses are not characterful at all. I'm amazed people have recommended them in this topic. All designed with computers by the best optical designers of the time. Modern coatings The whole thing about these japanese lenses was that they were at the peak of technological ability of the time. Very littler improvements have been made in optical terms since the FD mount was instigated. - 1971 is modern. Look at 1950's and 1960's glass. Anything after that will be clean and boring!

I was amazed by the price before discount and think it's pretty good of them to offer any discount considering most of their market reside here anyway!!! They will of had to order glass and metal manufacturing of 200 units or more to get the price to make their sale price viable. That's an awful lot of risk they're taking on board for a niche product. As far as image quality is concerned... Come on guys. Stop worrying - it's not hard to make two singlets of specific focal lengths, one of crown, one of flint so they correct each other. I imagine it would be harder to get the optics wrong than get them right. The fact that they've gone into manufacture of the glass will tell you it'll be worth it. They've showed more than enough proof of the image quality in tests. If they were asking £3000 I'd be a lot more critical but let's get realistic here. even if the optics degrade the cinelux resolving power by half, it's still gonna be delivering 4k resolutions.

Hey guys. I'm a 'consumer', rather than a 'professional' so am not very familiar with what is available in terms of lossless adaptors that will give me SDi outputs from a HDMI source. My main requirement is that the adaptor also provides a hdmi passthrough to feed an hdmi monitor. While also providing 1 or 2 sdi outputs to feed sdi recorders So I want HDMI input. And both SDI and HDMI outputs. cheers!

the tiresome debate. Often the complaints from people saying full frame is too shallow is from those who don;t use such a camera. If the Alexa were available as a full frame version I can almost guarantee most who swear by s35mm would soon switch to the bigger sensor. you need to spend £600-1000 on a lens for s35mm to match the look of a basic £50-100 35mm f2.8 on full frame. Going cheaper and at the required 25mm f2 needs to be used wide open and it's gonna be soft from edge to edge. You need wide and fast lenses if you want to separate visual information using dof creatively - particularly when outdoors. The bigger the scene, the bigger the frame that's required. It's not that full frame is shallower than s35mm. It's that for the same focal length you get a wider fov. if it's too shallow, close the aperture down and you get better optical performance and deeper dof. Nowadays with clean 1600-6400iso on full frame sensors closing down to f5.6 isnt a problem. But onto the subject of the original post, I think one should get to know both formats before deciding. a stills photographer turned motion photographer should stick with full frame since it's what they know. Those saying that full frame looks videoish due to the dof are using the wrong reference material to make their judgement. It's easy to stick a 50mmf1.4 on a 5d and shoot indoors for a single eye being in focus. Put the same setup outdoors and it's ability to separate a subject from its background is very hard to achieve with a smaller frame

As technically great as such an advanced stabilisation is, I do think for video work where the big sensor is advantageous for delivering a big feel, the idea of any in camera/in lens stabilisation has a serious impact on this 'big' aesthetic IMO. Mainly due to the fact that these types of features have never been seen or used on the types of films I deem as having a 'Big' or sturdy look to them. On the fly interviews on the other hand will benefit from this addition, not to mention stills! I'd love it if the a7r had 5 axis. I imagine the a7r2 probably will. I need to avoid rumors sites these coming months!!! For now, I'm still smitten with the A7R (Stills) and the A7S (video). Unbeatable combo, and if Sony continue the way they're going Canon and Nikon are in serious trouble in th enext 5 years

This looks really good. Though with the talent and production values such as locations, lighting, sound, editing, post etc seen here most dslr's could deliver the required quality for this type of film. I'd go with the d810 over a red dragon any day due to the frame being 1/3rd bigger surface area. can;t beat the full frame look.

A few of the guys I've built lenses for are using the F35 to great effect, in pretty compact setups too:- Jo Kami is really using the F35 to great effect on music videos:-

The golden ratio is a low contrast but with resolving power and no CA. In order to get this you need to go for top quality lenses from an era before multi coatings became popular. Old Zeisses, Schachts Munchens, and some ULMS (designed by an ex zeiss guy), Old Sankor lenses, rodenstock m42's, old tokinas etc. A magical little 35mm lens in T Mount meaning it can be adapted to anything.:- http://www.ebay.co.uk/itm/Sankor-2-8-35-mm-Exa-Exakta-mount-287573E-lk044-/361114539012?pt=DE_Foto_Camcorder_Objektive&hash=item54141a9404

I have a full set of rollei zeisses (25mm, 35mm, 50mm, 85mm and 135mm) as well as the 1.4x converter which is awesome with the 50mm f1.4. All are non HFT's except for the 50mm f1.4. I have the 50mm f1.8 version which is non hft and tbh i prefer it to the 50mmf1.4. The 25mm f2.8 distagon is pretty much my favourite lens from that lineup. The Non hft coated versions are really nice since they originate from the 1960's and were the best lenses available for 35mm SLR's at the time.

yes both the f3 and f35 become more and more exciting as the price comes down. I think it's the size/shape of the f35 that dictates it's look more than anything else since it has to be rigged up properly with real cinema grade gear to make it operable. also being PL mount means it's usually good glass rather than over contrasty canon EF lenses designed for still photography that get fitted to it. If RED didnt offer the EF mount option I think we'd see a lot more mind blowing RED footage since it would all be shot using real lenses. We'd see a lot less corporate stuff (which doesnt need to look like cinema, and when shot in a cinematic way it only serves to devalue the cinematic look-hence why hollywood are looking towards bigger formats to unlevel the playing field and give them the edge) shot on RED's if the users had to fork out for proper glass as you tend to when shooting in the F35. Also.. It seems as if people 'in the know' tend to be shooting on these beautiful relics and as a result they know how to use the gear to its best rather than chasing new technology to make them more bookable.

really pleased it showed up! There's something nice about the support. looks fit for purpose, yet it doesn't quite look good enough to match that lovely metalwork on the rehousing.

It's a complicated subject. Since both lens designs are from a similar era, the materials, manufacturing processes and tolerances and optical knowledge of the day will have been very similar. Glass types which are now illegal due to lead and other 'dangerous' substances. Without using this type of glass it's impossible to get quite the same look. It's also more to do with how lenses have been looked after/maintained through their long and busy life. As American lenses designed for and given a hard life day in, day out they will have been opened and cleaned very regularly. They'll have been assembled in non controlled spaces multiple times - usually leaving optic faces not quite as clean as when they originally came out of the vacuum tank after being coated. Wiped quickly in use, resulting in micro scratches to the soft coatings. Add all these factors and I think this makes up the 'Baltar' or similar lenses from the era. I do think that it's more to do with the way Super Baltars will have been used close to their operating limits that dictate their character back when they were new. As well as being used with FILM! And now our modern perception of the lens is that it adds character to a digital image. I imagine if the zeiss Otus was used for over 50years on film set and serviced once a year, it would share some of the aesthetic we see from Baltars. Overall I think an early helios 44 will match a B+L 50mm Baltar more closely than any other affordable lens since their manufacture date and optical construction coincide so closely. Using on a full frame sensor or with a speed booster helps since you;re using the lens closer to it's optical limits and this is where the beauty comes from IMO. This is one of the main reasons I decided to develop the FF38 WA attachment. a 4 element design. Highly corrected, using as few elements as possible with glass bordering on illegality - as in, I imagine at one point or another those glass types will be sanctioned due to some of the materials they're made up of. The unit literally sharpens the helios 44 and widens fov but 1.5x. no ca or softening even on full frame. it does however apply barrel distortion which actually adds to the swirly bokeh caused by the helios 44. HAving the ability to use the helios in various fov's is magical since the helios/biotar 58mm is IMO one of the best lenses ever. That said, If I had lots of money i think a set of zebra baltars in immaculate condition would be bought just for display on the mantel piece!