richg101

What happened Tony?

He did well.  he'd have sold a lot of these if he had access to a good lens grinder, it were in a proper housing and had a rotary type focus mechanism.  but most importantly, why did he not shoot a short demo piece like this review.  sells the concept about 10000000% better than his own samples

re. using fast colour corrector or any other effect in PP with a '32bit' icon next to it.  To me I find using the low bitrate nex5n footage 24mbs, and de saturating in camera, but if required, bringing back colour using a saturation boost in the 32bit effects is just the same as shooting non low saturated and lowering the saturation.  The data is still there.  If anything, if you know you will be doing any type of grading i find it better to get WB right then shoot flat (lowest contrast and saturation) then monitoring is easier since you are dealing with less information and can focus on framing, exposure etc without letting a unaccurate representation of the final colour get in the way.  It is also a nice surprise taking your flat footage into post and having a flat canvas onto which you can manipulate.     The arguments for and against saturated or de saturated in camera are split 50/50 from what I have read.  I certainly dont think my captured footage is limited in colour information due to desaturation in camera - I feel my dynamic headroom in both exposure and rgb colour handling is actually increased using a low saturated profile in 90% of situations.

D7100 at bve : http://www.youtube.com/watch?v=79ztv9LHbHI&feature=youtu.be they suggest the lack of aa filter will improve video, wonder how it compares to the 5200?

yes, but stack a medium format to EF SpeedBooster onto a current ef-emount SpeedBooster - and you have the image area of a beastly Schneider, Rodenstock or Zeiss squeezed onto an aps-c sensor - the way things are going, we'll have aps-c sensors with 50mpx and twice the dynamic range performance in less that 2 years. For this, only medium format lenses will measure up:)

http://compare.ebay.co.uk/like/221047668317?var=lv&ltyp=AllFixedPriceItemTypes&var=sbar&adtype=pla&crdt=0   something like this (with the right internal and external diameter should work well.  just remove the bayo all the way.  put this in place, then replace the bayo so it tightens down and sandwiches the cokin ring.  you might need to pack it a bit with something.  a few layers of rubber would be good, cut into rings the same size as the cokin p ring  

'Covert' Flare Factory in black..    

Indeed the forum is really good at the moment.  I felt the 'RX100 -getting the best video out of it' topic deserved a shout out.  Amazing topic.  Quickhitrecords isco shootout is really good, as is the gh3 grading topic

You can also ask questions live..   www.cameradiner.com

That's great!  sony emount to Rollei QBM dumb adaptor coming?  What is the timescale?  I'm considering the ef version due to then being able to use both m42 and contax, rollei, exakta etc via flat adaptors onto the speed booster ef, but might be more inclined to go with the dumb rollei qbm if it saves some money - I dont really need electronic control of boring canon ef glass...

I just reuploaded a newer version since i felt the darker grades were too contrasty and the rock face went pure black. Various Grades:- http://www.vimeo.com/60651984 Day For Night Grades:- http://www.vimeo.com/60677210

http://www.vimeo.com/60651984 First shot is 'Standard' - out of the camera. After that I just had a mess around. I like the image out of this beast! ps. You can download the original file if you click 'download'. its about 400mb. Happy to send screen grabs of the curves if you want to know what was done to each channel.

me too.  massive amounts of clear detail can be brought back in the rock face.  it gets noisy at a point but the noise is lovely and fine.  More like grain than noise.  I'd leave it in in most cases to be honest - and i imagine some careful iso and profile selection and wb tweeks might allow the noise to be tuned to an even more appealing look, with the right balance between red, green and blue grain is present and it looks even more like film grain.   The noise which appears when the shadows are slammed up a bit looks like a perfect Neatvideo candidate if you wanted it gone.

I just had a play with your files.  'Standard' profile looked best for my preference.  I have just started exporting a series of different grades.  some rather extreme.  I am really liking the headroom the footage is giving before any breakup occurs.   Should be uploaded shortly.  Cheers for sharing this.  You should try and get a friend to get in shot as it is always nice to have some skin in shot to judge what you can get in post:)  I'd love to see this same shot with some portraits in the foreground. 

Comparison between flares from a standard Helios 44 (which looks beautiful as it is!), and the Flare Factory 58r / 58g.  Camera settings were fixed throughout.        http://www.vimeo.com/60521495

zeiss 135 and iscorama look stunning. On Aps-c I think it is the ultimate anamorphic portrait lens combo. with a +0.5 or +0.4 diopter you cant get beautifully close, almost macro face shots. On a related subject, if you have enough light don't feel you need to invest in an f2.8. f4 at 135mm is shallow enough!

The iscomorphot 2x wins for me.  I think its mainly due to the diopter allowing you to get slightly closer than the iscorama, yet thanks to the beast of a mod, you have got very close without the dipoter:)  Adding the dipoter boosts all the lovely nuances of the anamorphic bokeh distortion in the same way bokeh is more creamy with a longer lens at the same aperture.   I love the colours too.  I think what makes this test so superb is the interaction from your model.  It's nice to see how the lenses render a human face.  I felt the lower contrast and shallower dof thanks to the diopters, as well as the slightly softer image overally of the two 8mm's works really well in render the human face.  Please tell me your model is an actor?  She looks as if she needs to be in a french speaking 16mm anamorphic movie!

They'll be ready soon. I have just set up an album where all of the lens samples can be seen in action in varied situations and arrangements being used with and without various types of anamorphic attachment. http://www.vimeo.com/album/2271288 Please 'Like' us on facebook. We won't be creating a full website so this will be our main place to keep people updated:) http://www.facebook.com/DogSchidtOptiks

you get the same field of view as a 14mm lens horizontally, but vertical field of view remains 28mm.  being a longer lens you get a shallow depth of focus than you would with the 14mm normal lens.     The decision whether to go anamorphic or just wide angle and crop the top and bottom is something you need to weigh up.  anamorphic should be reserved for situations when you have more set up time.  You will also need to invest in a set of diopters otherwise you normally wont be able to get any closer than 5ft.

Hey Dave.   No grading.  The blue tone is mainly because of it being a very grey and overcast day while wb was offset a little too.  I overlayed a bit of film grain to try and stop vimeo playing around with macro blocking too much.

looks very authentic.  loving the colours.  

'Flare factory 58b' (blue tint), no anamorphot, showing how the blue cast is only apparent when the lens flares up.   http://vimeo.com/60224190   The gradations are stressing the camera and vimeo's compression.  you can download the file if you want slightly better reference.

http://vimeo.com/60107970

sounds like some type of weird rectal probing device.  

Hey guys. cheers for the comments. @ Andy, yes these are helios 44's. A superb base for the concept. They are sharp and characterful out of the box. 'tanks' as you say:) a superb design. I wouldn't say any 'improvements' are made optically, rather they have worse optical properties!, or should I say, properties lens manufacturers try to remove in order to get cleaner images. Obviously sharpness is maintained, but various tweeks are made to element coatings, tints are applied to give more or less temperature to element glow, to match or contrast the colour of the flares created by your choice of anamorphic lens, anti flare/glare properties are tweeked by machining the inside barrel and metal components. As a result these are less contrasty than a typical standard helios 44. -Almost to the point where you'd want a lens hood on bright days in order to limit the glare to only be prominent in situations where there is a light source in shot, at which point the magic happens. These are certainly not lenses for slick product photography shots, but more for a grungy look, or to add a bit more of a vintage look to the modern and sharp anamorphics which give the lovely bokeh and waterfall distortions but can often lack a bit of visual adhesive we see on the old panavisions and 16mm anamorphots. Once attached to the anamorphot they do a nice job of boosting the general rawness of the image and the lens defects that often result in creation of those lovely optical artifacts. @Brucker. Cheers man. The machining adds a bit of an industrial look to the old and tired helios form. Though these are crisp and sharp looking on the outside, they are graggy/grungy on the inside:). They are not a direct replacement to your standard tired helios 44 - Personally i would say you would want a standard helios in your kit alongside one of these, these are in no way better than a standard helios 44, but just different. If someone wanted a standard helios 44, but with the nice machined finish on the outside we can do this too. @Mondo. Glad you like them:) They will be available soon (within a few weeks). Just sorting out the information, packaging and deciding on the options that will be offered. We will be putting them up on ebay or as direct purchase slightly cheaper if it avoids ebay and paypal fees. I'll send over a sample to EOSHD and let him have a play. Will be nice to see what the master thinks