richg101

they've told us the focus range ios 0.5m-inf. they've shown the focus rotation in their how to install video The helicoid is obviously mounted further back to save costs (if it was the diamater of the outside of the optics it would be a fortune to make - this is why the thing shrouds the whole lens. logic would tell you that if a cinelux anamorphic is paired with an f2 matching lens originally, then the lens can deliver f2 or batter on the 35mm format. logic would also tell you that they'll have selected front optics capable of delivering without adding vignette to the cinelux. it's nearly impossible to know what reflections might happen inside, but this is the only solution so it'll be a like it or lump it situation I imagine. most technical people are not also visually creative - probably why the tests are a bit lack lusture. the delivery of this rather lovely piece of well priced engineering is astounding and his tests so far show anyone with a shred of knowledge on the dark art of using anamorphics all they need to know.

I havn't seen anyone ask for money yet. Commurit is compiling a list of buyers so he can go to anamorphic shop and get a deal for you. I sent an email to anamorphic shop asking to be put on the waiting list the day it was announced. no money was asked for in the reply, just that they would be intouch when it is ready to sell. so we know that up until this point answers aint available. it's the way specialist products are made and sold. until someone is asking you to pay for something they are not obliged to tell you anything. Let's be patient and I am sure once the product comes up for sale the answers will be there for you. The guy could have done a kickstarter and never delivered like 90% of the bullshitters out there, but instead is doing things properly it seems. Let's all grow up a bit and stop worrying so much!

I imagine since the frame width of 4 perf printed film is only around 22mm, even with an aps-c sensor is bigger than this so we're using more of the glass than the optic was ever really meant to utilise. add to this most of us go as far as we go before vignette, usually to get vignette we are using focal lengths less than half that of the original spherical part of the projection lenses these anamorphics tend to be mated to. The difference in squeeze ratio could probably be compared to barrel distortion on a wide spherical lens used within its limits.

the cinelux exhibits this very strongly. - on full frame with as wide taking lens as you can go with. I think it might be a case of needing wides to be shot with limited panning since we are using our lenses way beyond their intended purposes and these attributes are showing up in these circumstances. an 85mm(aps-c) or 135mm (ff) reduces this artefact. a 50mm (aps-c) or 85mm(ff) it shows very prominently.

All the mugs who jumped on the bandwagon a year or less before the bubble burst about 6 months ago have already sold up or are selling the lens they thought would turn their stuff 'cinematic' without them having to put any effort in and this has brought prices down drastically. I keep having to force myself to not grab one of the umpteen kowa 8z's or similar I see popping up for less than half what they were going for a year ago.. It's a true anamorphic nutters paradise on ebay at the moment what with all the bandwagoners giving up due to it being too much effort. Flooded market and prices more realistic now. What is awesome is that a lot more kowas will show up since users will migrate to a gold or red anamorphic to use on the fm unit and only the experimenters will be willing to make the kowa and similar lenses with non 71mm diameters work.

Makes me wish you could get a big steel toe cap in the doorway of Sony and feed them some useful feedback too. Seems that Panasonic are being very forward thinking.

It would appear Comurit is showing as much excitement as i have been - I also got accused of being involved by another member due to my enthusiasm. I guess this is something that we can actually really get excited about because the opportunities this thing opens up is rather amazing- particularly at the honest price they're asking.

mine also does this. However it only really shows when i rag the hell out of the camera. just because the camera goes up to 400,000iso doesnt mean it's useful at that speed. anything below 16000 is as clean as a whistle I am finding.

I intend to hacksaw the lips off mine. But in any case the fact that the front fm module optics are very large the lips shouldnt create very much of a problem even if you left them. removal of the lips with a hacksaw will take about 2 mins of gentle sawing with a decent hacksaw on a sturdy table lined with some old clothes for padding and to stop it slipping while you saw. there wont be any chance of the metal grains causing problems. just blow them away with some canned air. properly cleaning the lens element before starting to saw will remove any residue that might be on the lens that might attract the sawdust. the focus locking knob will need removing - which again wont cause a problem - its more for continuous projector vibration problems and focus wont shift when in the fm module I doubt. the focus know will also need chopping down a little - leave just enough length to allow you to still operate focus. the whole job will take less than 30mins

this is the one I have. you got a good price too!

yes. they are achromatically corrected optics - made using some very expensive glass. it is only right at the edges on full frame that these lenses really show any signs of struggling - since they were never designed for such large imaging areas. the full frame mode on the a7s is 36mm wide. 4 perf 35mm film projection is only around 22mm wide. so i am running this lens on a imaging area 14mm wider than optimal. i have only started playing with such things since there has been a cost effective add on focus system announced. they're still cumbersome, but at least their optical quality can now be used with less hassle.

Did a bit of dog schidting to the cinelux...

Not interested in zooms mate. in any case I can stick one on the iscorama or this FM unit as long as the zoom is parfocal. the 2x selling point is null and void if the image quality is hopeless as i am seeing here. even your flickr pics lack that sharpness pow that lets you know you;ve hit focus. they're sharper than your recticlips but why are we not seeing the same sharpness in the videos? the nex5n is actually pretty good for sharpness in video. The FM module discussion about group discount (you know, the thread you locked in anger) at 550eur seems to do a pretty good job - hence why i went and found a cinelux 2x ready for when i can afford to grab the FM Module! - This is a 2x setup which far outperforms what i am seeing here. Please don't take this as a personal attack, but one of critique of your product which seems to be pushed to the top of the forum as a hard sell on a daily basis without really providing anything of worth and distracting from the community spirit IMO.

Though better than your previous tests for showing sharpness, I'm still not seeing very crisp focus at full screen on that text on the phone and considering you're compressing your footage vertically in post I'd have expected sharper particularly on a rather slow taking lens and an aps-c sensor. At the moment it;s looking on a par, or maybe not even as sharp to what i was getting from my century 1.33x and a 28mm f2.8 on a nex5n almost 3 years ago:- At todays prices you could get an olympus 28mm, a century and a tokina for around £500-600 if you are searching on ebay and or contacting hire firms who no longer use the little century lenses, and IMO that little humble combo not only offers wider and sharper capability, its probably lighter and also can be single focused from 50cm - inf with the tokina left in place. As an added bonus the century has one of the best flares going!!! This little combo costs 1/8th of the price of the system you are testing here and from what I see is comparable or better in some cases. Give us some footage from a fast prime man! No one wants to see an f3.5-f5.6 zoom because very few of us would ever want zoom feature from an anamorphic. Show us some samples against your iscorama. give us something to justify this constantly bumped thread.

Remember that bokeh is more a direct result of the taking lens. The anamorphot simply deforms the original bokeh into either 1.33x 1.5x 1.75x or 2x . The beautiful bokeh seen here is largely down to the noritar - it's known amongst a select few as one of the greatest lenses for bokeh ever (being a simple double gauss design and for medium format the bokeh is very smooth and uniform accross the frame when used on a full frame sensor. The 2x squeeze only serves to add to the beauty!

streak flares are almost non existent unless in a dark room with a bright light shining straight at the lens. however it's more about the bokeh that these lenses do well on - as well as their sharpness. This shot shows the bokeh: wide open on the noritar 80mm f2 so sharpness is limited by the taking lens which is rather smooth at f2. also, the cinelux is very hard to collimate to the taking lens quickly meaning a slight offset results in purple fringing - seen here. When configuring the two lenses to integrate with this new FM module it'll be easy to spend a lot of time refining the ideal sweet spot of the cinelux and then only the taking lens will need to be adjusted as and when it might be changed.

i'd suggest firstly not using any lens wide open since the purple fringing tends to promote the blue peaking issue. also, you might find you want to expose for your blues rather than your overall colour palette. - changing wb will effectively do this. it seems to only happen when set at lower kelvin levels since at this point your blues are being pulled up. In any case, in difficult situations it might be worth exposing to the left to endure your blues dont clip.

I thought I'd start a topic for talk specifically relating to use of these once hopeless oversized lumps of very high performance glass. Now the upcoming FM unit pricing is announced (which appears to have been designed specifically for use with this type of anamorphic) maybe discussion can be had regarding each of the variants of the gold and red projector anamorphics.. so lets talk:- thoughts and ideas lens tests queries flaring character sharpness as well as taking lens paring relating to the 'look' and compatibility on certain size sensors. I've been testing a cinelux this evening on my friday night off so will share some stuff shortly.

Nice to see the big man back here. where you been Stanley?

yes. it seems the discussion changes direction very quickly and almost argues against itself. Never the less an enjoyable interview which brings up lots of valid points from old men (in a good way) with lots of real world knowledge. cheers for sharing :)

I'm not seeing particularly bad CA to my eyes. particularly when you consider how strong a 2x anamorphic is in terms of 'wide angle conversion', and on full frame + 55mm f1.8. assuming this was the camera/lens it was tested on? You should factor in that the end delivered edit from a 2x anamorphic will rarely show the results at the edges of the frame of a 36mm sensor width - unless a 4:3 sensor of 36mm width is ever released and if so, it certainly wouldnt ever see use with this lens! I'm interested to see how you have come to the conclusion that this optic is using a particular brand and flavour of crown glass. Since this anamorphot likely has a minimum of 4 elements, some of which will be flints - almost definitely of Chinese origin as you seem to be hinting as a negative aspect of the design. Though I think it's a little irrelevant to bring the origin of the glass up in this topic due to the likely rrp being in the respectable sub £1000 mark. In this case no one would expect ohara or schott. Believe it or not, the quality of CDGM (China) glass stocks is very good, and based on my experimentation and development of the wide angle adaptor (FF38), of which the critical elements are of Schott origin, the difference between the schott and cdgm variant leaves me wishing i'd just gone for cheaper cdgm and saved a whole lot of money!

bravo FM module. Test samples and price are both attractive. I have two cinelux 2x schneiders I grabbed very cheap this week. being able to focus these badboys is gonna be a dream.

mine would be a digital back with a monochrome sensor measuring 56mm x 56mm with 4000x4000 pixels all reading out into a clean 1080p signal at 24/25p 10bit prores files direct to a ssd. multiple crop modes from 1:1 right to 2.2:1. takes large sony batteries. single 4k feed out of hdmi at 10 bit to feed a monitor/recorder. i'd then place it on a rollei hy6 or hassy and be shooting 65mm with a camera system smaller than a fs700.