richg101

Hey Andrew. It is the Rollei QBM mount Zeiss Sonnar 85mm 2.8 (non HFT). this was at f11 so the results are more to be expected, but I wanted to show how the iscorama seems to be optically clear and does not do any degradation to the taking lens - even at 36megapixels

A7R :- I'm in love.

36mpx full frame still from the Sony A7R with a sonnar 85mm and Iscorama 36:- http://www.dropbox.com/s/fz1paa2uj1w5avo/A7R_Sonnar85mm_Iscorama36_f11.tif The Iscorama is optically clear. Clearer than air. It's like nothing was put in front of the taking lens. Unreal. it would be really cool if we built up a database of high quality tif's of anamorphic setups for reference.

factoring in your full frame sensor... your 85mm will give you the same fov as a 50mm lens on a super 35mm sensor. thus.. with the anamorphic lens and a 3.55:1 ratio you'll see the 50mm vertical fov most would expect from a s35mm sensor, and a horizontal fov of 25mm in the same terms. if you crop to 2.40 the horizontal fov will be the same as what you would expect from a non anamorphic lens of roughly 35-40mm in focal length

forget sensors in the equation IMO. the focal length of your lens remains what ever the taking lens is. So any anamorphic lens in front of a 85mm is still a 85mm. fov on the vertical remains the same as when you use the 85mm lens without the anamorphot. fov on the horizontal depends on the squeeze ratio. Yours being a 2x anamorphic will result in a horizontal fov of a 42mm lens when used on your 85mm taking lens.

A7R video mode at iso800:- Pass:- A7R I'm happy with the results from the video mode. Not as good as I'd have liked, but the stills from this beast make up for it. Be sure to download the original file - vimeo seem to have upped the levels of compression they apply recently. 8000iso:- Pass:- A7R 25600iso:- Pass:- A7R

Less than hopeless in determining the ability of the cameras due to the fact that each appears to have been exposed differently on the charts - bleeding the blacks and whites together and creating a false sense of contrast based edge sharpness. I'd have also liked to have seen some logical use of picture profiles - at least try to match one to the other, or get a half way house so that the actual results are apparent. I hoped to see from this test whether or not my purchase of a A7R over the 5dmk3 was a critical error, but this test makes things even more unclear. I'd have also liked to have seen each of the results given a once over in post - since the 5dmk3 benefits from a sharpening in post, maybe the sony's might benefit from a softening because from this example it seems the resolution from the a7r is twice that of the 5dmk3 due to the mis match of picture profiles and exposures,

looks better than any previous NEX video to me.  the shadows seem very clean compared to what I have come to expect.  Hopefully since sony have marketed the a7r as being better for video we'll get better results from the a7r.  I'll know when mine arrives tomorrow

absolutely awesome. If this happens I'll grab an Iphone. I certainly won't be backing a Kickstarter project though. Kickstarter is dead as a dodo to me.

yes this is a bit of a pain I know. never go past 1 full turn and you're ok:) I will do my own iscorama one day, but its a job and a half. I've been looking at the van diemen rehousing recently and cannot justify the price and weight gain, so am likely to be machining a DSO rehousing which maintains the protrusion of the rear optic to allow deeper seating of the optic into lenses with deep bevels, gives focus gearing, and adds less weight than the van diemen bodywork. I imagine if i do, it will be something that can be bought as 3 individual parts and fitted by the user.

Just seen this topic. re. stopper... its literally a nightmare to do this. i wouldnt suggest you attempt it yourself. I did Robs and since have not mustered the courage to fit a stopper to my own iscorama36. hours and hours of fettling of the inside of the plastic housing. lots of opportunities to mess up. I would suggest instead creating an external pair of rings with a pin on one and a stopper on the other which hit eachother at the point where you want the 'stop' to be.

its just a rebranded kowa as far as I am aware. I almost fell fowl to one of these thinking it was one like Andrews in different clothing.

  Mine's staying with me I'm afraid.  

  if there were any difference I assume it would only show up when using very wide lenses on smaller sensors rather than on typical 50mm and up taking lenses on aps-c and full frame.  Since the rear element on the non 36 version is still very large, and can be positioned very close to the front optic of the taking lens this difference would only be seen on taking lenses with huge front optics.  I'd imagine the '36' might have a slight edge in terms of light loss when using very fast lenses, but it would be very slight.   when testing the two against each other on a helios 44 the results to my eyes were as follows:-   flares; exactly the same brightness: exactly the same fov: exactly the same contrast:  36 was slightly lower contrast than the non 36.   Personally I couldn't choose which I prefer.  The difference was so slight it's not worth even considering IMO.

    single coated will result in an amber/bronze main horizontal flare and a green secondary flare.  Set a tungsten bulb up ans your light source and use the correct wb setting and if the flares turn out to be amber/bronze with a secondary green flare it means its a single coated version  

I'm interested to know how many of the guys here have rama's with the 36mm rear element but also single coatings.     Mine is single coated for sure, yet has '36' on the front ring.  I did a direct comparison between a pre- 36 model and mine and the flares are exactly the same as the pre 36/non 36 version with the smaller rear element.   just curious really since it seems a lot of people are hankering for the pre-36 version without realising that there are infact some 36's which are single coated.      

lovely.  The introduction shot is superb.  I thought a few of the later shots were a little over on her face but I only notice that because the rest is so damn good.   The 25mm and the iscorama is a killer match it seems - I intended on using my zeiss 25mm f2.8 on the pocket and iscorama but decided to bail on the pocket out of principal.  Shame they never met their deadline as I'd have liked to try this combo myself.   Were you at f0.95 most of the time?  looks like a bigger sensor than s16 to me. - probably the combination of fast taking lens, the ultimate anamorphic and the hand movements would suggest a bigger camera to me too.

  Love it!

Oh and ps.   A Helios 44 should be top of your list in terms of equipment (if you're mad enough to not yet have one already!)  Most anamorphics will vignette slightly on full frame with a 58mm, but the vignette/barrel glow is slight and very beautiful

I'd suggest grabbing anything.  everything will work.  just make sure you have an 85mm taking lens since that will allow use on your full frame sensor.   Based on your videos on vimeo I think the limitations of a dual focus system will probably lead you into being creative in combatting some of the limitations.  I find locked down anamorphic shots where the subjects are kept within the plane of focus instead of being chased by a focus ring can look more powerful - it suggests a big camera and a huge camera support.   This has not been mentioned but it might end up more enjoyable (and cost effective) to buy another camera (with a smaller sensor) - thus allowing easier good results from lesser, cheaper anamorphics.  a less costly 50mm lens can then be used instead of the 85mm you'll need for your full frame sensor at the moment.   If staying with full frame, I would suggest you spent a portion of your budget on a nice 85mm alongside a cheaper anamorphic (Sankor is amazing value for money).  instead of more money on the anamorphic and less on the 85mm.  its all in the taking lens IMO!       Iscorama is a nice benchmark, but since its so costly I find it not much fun to risk using out and about.  The worry of damaging an iscorama is more of a creative hindrance than a dual focus system IMO

Lets go out and play with anamorphics..  Than afterwards maybe we can go out for lunch.

Let me guess... Nikon forget to include a split screen focus system on this...

the main reason pompus Nikon users ask for no video mode is because they simply don't understand how to get good things from video. wedding photographers who can diversify and offer (good) movies of a wedding are stealing jobs from the guys who can't deal with pulling focus, working with limited DR, editing, sound etc. People want more than just a bloke with a boring 28-120mm zoom and a marks and spencers suit. If I were to be married I'd toss a coin between a guy shooting with a large format view camera or a photographer using a LOMO 75mm square front for stills. Enough about lack of video mode... I wouldn't look at a Nikon until they bin their horrifically limited lens mount. Why havn't they binned this horrible FFD and gone with a new mount and sturdy adaptor as sony have done with their e-mount to a -mount adaptors. This camera will only be bought by boring photography club members who only buy camera gear to take to their meetings and talk about it, rather than taking photos anyway. on a positive note... Damn I love the styling. But the A7R is about a million times more sophisticated. And a biliion times more usable in this day and age