Julian

A Nokia engineer announced that RAW photo support is coming to Nokia 1520 and 1020 with Lightroom processing and etc.
 
https://twitter.com/Partinen/status/392596490289307648
 
At this rate of pro feature adoption by mobile phones, I'm starting to wonder if Canon should start making pro lenses for mobile phones instead of focusing on point and shoots...

Well sort of. It needs to be mounted on the back lens group and move together with it. It can be done on telephoto lenses that have room at the back of the lens (check out the back of a Jupiter-37A, you could easily fit a Helios back lens group in there), otherwise the focal reducer hits the mirror. Would be good to own a mirrorless cam. That way I would not need a negative diopter, I could move the whole lens closer to the sensor.

Are there any negative diopters? I mean usually they are useless but does anyone know about them being produced for photography? I used the back glass group of a Helios as a focal reducer successfully but it reduces the working distance and I want to counteract this by using a negative diopter.
I haven't used this for anamorphic yet, but I thought I ask this here.
 
Here is a Hoya 200mm f3.5 working as a 135mm f2.0 (estimated)

Would love to see that too. Even just a little test... Andrew, pleeeease? :)

Welcome to the SpeedBooster :)
 
If you have a 35mm 1.4 and a speedbooster, buying a 24mm 1.4 is pointless indeed (unless you want to use it on the speed booster, as 17mm f/1.0.
 
Normal adapters don't give any quality loss. They just extend the mount. Optically the Samyang lenses are all the same. The ones with MFT mount just are longer with a different mount, so you don't need the adapter.
 
Buying the Nikon versions with a Speedbooster is a good idea. Results with the SB can vary from lens to lens, so you might want to check out other peoples results with the Samyang lenses on the SB, although I don't see any reason for trouble. Just have a look on Vimeo and you'll find good results.
 
The only doubt is the Samyang 16mm f/2.0 - it's made for aps-c-sensors with a crop factor of 1.5x
With the SpeedBooster your GH3 will have a crop factor of 2x 0,71 = 1,42x, so you'll be pushing the 16mm a bit 'over the edge'. Most lenses have an image circle that is bigger than what they are designed for, I think it will work without problems, especially since you're in a 16:9 crop for video. But best thing would be to try before you buy.

I too, would love to know how this performs on the larger sensor of a GH3.

I've shot with the A7 for a full day, you can see the video here:
http://www.youtube.com/watch?v=bnvgceTEV3c
Looking at the image afterwards though, I'm not as excited as I initially was.  I loved the process of shooting with the camera, but the image quality is pretty wanting.  As you can see on the video above, the image is quite soft, and moire is visible in many shots.  Hopefully, this can be chalked up to pre-release firmware, but we permitted to judge the video quality based on the models we had, and I'm not delighted with the results.  Once the production cameras come out, I'll post a follow up to the above video with my revised opinions.

Anybody who has the opportunity please try it on a full frame sensor. Mark III with magic lantern or scarlet if you have access to one.
Get your step rings ready, back filter size is 50mm so get the one you need to screw on your 50mm focal length lens :-)
thanks!

no bullshit here andrew what am i sayin.
i said it will not be based on the focus century as complexity would mean cost would be at letus levels.

both lens will be good but they will not be cemented corrected doublets.

they are simple single element optics with an airgap.
try a moller at f1.4
try these new lens and tell us about state of the art optics.
user friendly with a good price yes but nothing nasa here.
since nasa is dead it is up to china to take us to the stars but not for a few more years methinks.
but what a price not many can beat it.



"We are the slr Borg.  letus Lower your shields and surrender your ships.

I have a 3 element, focusable century 1.33x here on my desk.  if it is indeed based in any way on this type of design they're onto a winner.
 
Please please please give me some samples on aps-c or full frame at f2 and f2.8 in daylight with an ND.  This will truly give an accurate idea of what we can expect with minimal and/or battery powered lighting setups.
 
re. the 77mm diopter set...  This sounds like a great set.  I'd buy the pair straight away. - since the tokina +0.4 being only 72mm vignettes ever so slightly on iscorama and 35mm taking lens.

wow 
all because of you  : )
damn you should of told them to use a doublet in the anamorphic design then they would not have this low light issue.
it is not bokeh it is a limitation in the century design f stoppin init.
but like the noise alex jones from your town,you austin folks nose best ; )
 
 
cannot wait to see your trackin shots at night.
 
and fuck you and your ffs you tit

Take the following recommendations with a grain of salt.  I started out self-financing my own film career, so a whole set of L-glass was out o the picture.
 
I've thought of going to the BMPCC, but as attractive as the camera is physically including raw and 422, the odds that lower priced m43 and APS-C (semi-super-35) sensors will begin providing raw and 422 out of the box are good.
 
I've already tried competing with others for the rare old glass.  For example, really good examples of anamorphic glass (without even single focus) such as the Bolex Moeller 16/32 are going for over $2000.   That's just crazy when you can rent a set of Oct 19/P2 Lomo's for 2 weeks for $2000.
 
At some point you realize you just have to pay a little extra to get what you want now and move on.  The BMCC is getting discounted to a reasonable price.  Get one (if you can) for M43.
 
(Really wish some company would take a Bolex Moller 16/32 to an optical engineer and just copy the design -- except include focus servos for those that want single focus as an option.)
 
As far as your other questions: My experience has taught me to buy the lenses and fit the right camera to them.   The half life of a decent digital camera these days is a about 2 years.   Good lenses last for a lifetime.   I'm still running with my set of manual DSLR lenses plus a Tokina 11-16 and a Minolta Macro Zoom for special occasions.  I'm betting on micro 4/3 and larger sensors in the future.  For what it's worth, here's my current lens list:
 
Pentax/Asahi:
 
Super-Multi-Coated Takumar 35mm f2  
Super-Multi-Coated Takumar 50mm f1.4
Super Takumar 50mm f1.4 (first production series)
 
All the Takumars are super high precision, buttery focus, have generally excellent bokeh and are inexpensive.  Huge bang for the buck.  The 35mm gives a relatively normal field of view for crop sensors and the 50 becomes nice for short portaits.   Good for multitude of purposes.  The first gen Super Tak is beautiful and very nice as an anamorphic taking lens.  It's not too wide and it's single coated so it doesn't filter anamorphic flare.
 
Minolta:
 
Rokkor-PG 58mm f1.2
Rokkor Zoom Macro 35-70mm
 
The right Minolta manual can be very useful.  We shot a lot of our first film on the f1.2 Rokkor.  On a crop sensor it becomes an almost magical short portrait lens, isn't too "analytical" and yields just gorgeous natural light results with the best bokeh in the business.  Sort of a legendary bokeh monster lens.  Just be prepared for razor thin DOF at f1.2.  Don't overuse the f1.2 in natural light *instead* of proper lighting.
 
The Rokkor Zoom Macro is a incredibly precise Zoom that rivals most primes.  On crop sensors it covers short portrait to normal telephoto.   It has a 1.5x light macro mode that allows very close focus which is great for super-closeups (rare in a zoom).  This is the lens that Leica liked so much they re-badged it as their own.  If you wait a week or so on ebay you can usually find a nice example that not too expensive.  I think I got mine for $200.
 
Zeiss Jena:
 
35mm f2.4 Flektogon
80mm f2.8 Biometar Zebra (Medium Format)
 
Zeiss Jena is the original Zeiss factory that the Russians captured and move to the homelad after WWII (which resulted in the Helios 44-2 and others). When Jena recovered they continued making mostly comparable glass into the 60s and early 70s until the warped communist economy finally screwed up their production capabilities.
 
The 35mm f2.4 Flektogon is a wonderful little lens.  It's precise, not too large, has a normal field of view for crop sensors and great bokeh.  Oh yeah -- it has the standard Zeiss mechanical and optical precision and punchy contrast.   It also focuses down to 3 inches. :-)
 
The 80mm Biometar is an interesting lens.  I found it while searching for a good long focal length anamorphic taking lens.  It had to have single coating so as not to unduly filter out anamorphic flare (thus the 1960s Zebra version).  It had to have good precision and optics.   It's Zeiss Jena and the overall optical quality is only slightly less than the equivalent West German Zeiss of the time.  In any case its optical performance in the center is second to none and that's what the m43 and APS-C sensors are going to be looking through.   I have noticed *no* aberations when looking through the center -- first time I've heard that.   Any imperfections in the center would either be eliminated by Zeiss QC or not generally in the field of focus.
 
The wierd thing is (not sure how this works) is that while it's rated at f2.8, it lets almost as much light through at f2.8 as my f1.4 takumars -- but without the accompanying razor thin DOF.   Early anamorphic tests are very positive with LED point sources throwing super punchy and sharp anamorphic flare (right out of Alien :-), while the increased focal length and DOF makes for some very nice cinematic footage.  Mechanical design is typical Zeiss precision, but the Zebra Biometars are now almost 50 years old and the focus helical can get a little stiff.  Suggest you have it serviced at a reputable rebuilder for best performance.  These were the default lens on the old Pentacon Six cameras so there are a fair number of good examples left.   Expect to pay around $200 for a good copy.
 
Nikon: Ai-s 24mm f2
 
The Nikon used to be my go-to lens for slightly wider FOV with crop sensors.  Typical Nikon quality but I don't use it as much as I used to.  If I need to go wide-wide I usually use the excellent Tokina 11-16mm.
 
Helios: 44-2 58mm f2
 
The Helios is a Russian copy of the Zeiss Biotar.   It's used a lot as an anamorphic taking lens.  While it is single coated and a generally nice lens (fun bokeh, good flare, moderately precise), my copy (new old stock) had oil on the aperture blades and a pretty stiff focus ring.  There are rebuild videos by a cool Austrian dude on YouTube.  I might get around to it or just buy another.
 
Sankor 16-D 2x Anamorphic
 
Entry level, but beautiful Anamorphic.   My copy was in prettty fine physical shape.   I shot some fun test footage in Boulder CO on Pearl St Mall which I'll hopefully post some time soon.  The Sankor may not be the most precise anamorphic but it does throw beautiful anamorphic flares.  Good for understanding how anamorphics work even though it's dual focus.  You can get one for about $200 - $300 and pick up an adapter for about $50 - $100.   My only major issue is that, even though I swear I have it properly aligned, It's bokeh are oval but tilted slightly to the left and I can't figure out why.   It probably needs re-collimation, but I'm just guessing.
 
Tokina 11-16mm f/2.8 AT-X Autofocus (either Nikon or Canon mount)
 
This is a great constant focal length uber-wide zoom.  I recommend the Nikon mount for anything other than Canon as the Canon version doesn't have an easy way to manually adjust aperture.  Mines a canon mount and I just set and leave it at f2.8.  On a 2x crop the 11mm is still pretty wide.  Not sure how useful it would be adapted to a BMPCC.   It would be somewhere around 33mm which is wide, but not Quentin Tarantino wide (usually 24-28mm).  I bought this new at B&H for around $700 when it was hard to get.  My most expensive lens so far and I know that's not saying much.
 
All in all I love my lens collection. 
 
Good luck to you.

no dis respect just find a small sankor anything with the numbers 16 in it.
or a kowa why not buy something that you can hold in the palm of you hand...
 
why buy from a liar anyone that puts iscorama in the title like that guy should be hunted down and forced to eat his 3kg lens.
if you want to buy these massive pieces of metal and glass use an auction rather than a buy it now.
those links are a joke sorry 150 dollar optics at best much of this glass has been dumped from multiplex cinemas going from film to digital some taken out of dustbins.
not saying it is not usable but cameras are getting smaller.
you will not look more pro with rigged up set up like that you look like a wanker.
send the iscorama guy an email say you are interested in buying 3 set up's tell him you are doing a skate board project and you love his items ask him has he got any examples of motorbike speedboat or skateboard footage using his not real iscorama

I don't really know why you are obsessing about this. It's not that big a deal is it?
Still, the pocket camera is priced below many pro-sumer equivalents (GH3), and as evident from all the online forum chatter, vimeo groups and youtube test videos, has overwhelmingly been bought so far by amateurs and hobbyists - myself among them.

I do not understand your obsession with video on stills cameras. Video is an added feature on a stills camera so how can you compare them to a BMCC that is made purely for video? Stills cameras will always be stills cameras, the video will get better as the tech gets cheaper but it will never be the main focus. We are a small market and will be treated as such.

Would you mind if I use this thread with the same purpose?
I also have an iscomorphot, but since I don't have it's clamp, I'm willing to let it go for $650, including shipping.
It comes in a Bauer box, which fits the lens perfectly, has the original hood as well, and front cap. :)
 
Anybody interested?
PM, or reply here, or mail me at ferradans@gmail.com

I honestly dont even know what technology they are reffering to. An ef mount? Lol

Ehh, did any of you look at the samples provided by levisdavis? The whole point is the moire in full sensor mode... and how a VAF can improve it.
 
Anyway, I downloaded 2 dng's and make a quick comparison. Without VAF (sharpness 0) and with VAF (sharpness 25):
 

 
Thanks for sharing, looking pretty good. I switched to a 5D II and I'm waiting for my VAF5D2b...

Read: you have to focus by turning some little thumb screws which will make using this a pain in the ass. 
 
Read: http://www.eoshd.com/comments/topic/1352-schneider-kreuznach-anamorphic-projector-lens/
BTW, Andy Lee is the seller of the lens you are linking.

43rumors are waiting because they want to protect the source. There's no 'deal' or conditions at all. And no, manufacturers do not get involved with purposeful leaks. Every time a leak occurs it has the potential to negatively impact sales of existing models on the shelf. We had the info jointly sent to us by a known source. I am actually quite reluctant to publish it at all.
 
And remember that with rumour information, it is a rumour. Could be wrong could be right!

I'm parting with my "baby iscorama". Not because I don't like it - but I never use it. I got an Iscorama shortly after I bought this one - which put this baby in the corner.
 
I originally bought it from another user in here. Jorge De Silva - he has used it somewhat more than me, and made these videos with it. (I never got around to use 'em for video)
 
http://vimeo.com/51675836
http://vimeo.com/58756888
 
Here is his sales thread: http://www.dvxuser.com/V6/showthread.php?301543-quot-Baby-Iscorama-quot-Iscomorphot-8-1-5x-anamorphic-lens!-Redstan-Clamp!
 
Its old. So obviously there is some wear. I looks great, works great, focus is great. There is a few specs of dust, but I haven't noticed them on pictures. Overall in great condition.
 
With the ridiculously danish import taxes, I ended up paying 700 USD. So I guess that will be the price. Is it fair? - i don't know. It's not the 2000 USD "buy now" like on eBay. I was hoping to sell it without loss. Free shipping in the EU.
 
 
 
 
 

A TrueSense sensor would not likely be destined for a Panasonic, as they're making their own sensors. After a brief trip to Sony for the GH3, the GX7 once again has a Panasonic chip in it.
 
A Four Thirds sized chip from TrueSense would more likely be destined for the Blackmagic and Digital Bolex type cameras of this world.

All of Edgar Wright's films have had impressive or, at the very least, quite pleasing and slick cinematography and his most recent installment to his and Simon Pegg's "Cornetto Trilogy", The World's End, is no exception.  There's a great feature article covering the style and technical approach to the film in the September issue of American Cinematographer Magazine (http://www.theasc.com/ac_magazine/September2013/current.php).
 
When it got to the lens selection for the anamorphic portions of the film (once the scifi madness kicks in) I wasn't at all surprised that Wright and his DP went for a classic sampling that included C-Series lenses for their greater character versus new cinema anamorphics.  Wright likes to shine lights into the lens as much as anyone here (and he does it so much better than JJ Abrams).  Coincidentally, Panavision made a discovery at their Woodland Hills location, a B-Series that Panavision had failed to catalog and been long forgotten. 
 
 
Given the way a lot of discussions go around here over this anamorphic or that anamorphic, I had to smile when I read the part where this DP praises aberration and soft edges.  
 
 
 
 
...and I always like when they go into this sort of detail, about working or target stops used on a film.  Anyway, it's a nicely detailed story about a contemporary anamorphic film that's worth grabbing an issue for.  
 
Only God Forgives is likewise covered in this issue, and though it's not anamorphic it is, very surprisingly, a mostly practicals show with very few cinema lights used.  Having seen the film it's almost too hard to believe the information in the article. 

Hello everyone,
 
This is one way to learn to deal with Anamorphic footage in post. Here is a detailed tutorial on working with anamorphic footage in post, from dealing with lens distortion and squeeze factor, moving data between applications and rendering with the proper pixel aspect ratios. I will be updating this tutorial with more info as I move through the process and adding more applications as well. Currently I cover Nuke, After Effects, Video Copilot and Maya. The next one will most likely be Houdini but if you have any suggestions, something is missing or if there is a better way to do something please let me know. I really wanted a place to consolidate all of this info and make it available to anyone who needs it, so let me know if you found this useful.
 
Thanks
Rob B
  http://www.robbannister.com/working-with-anamorphic-footage-in-post/
 

 

These cards aren't backwards compatible with CF cards or cameras that use them.  These are part of a standard that was announced back in 2008 as a successor to CF.  They use the faster SATA architecture as opposed to the PATA architecture of CF and have SATA connectors.
 
The 256 GB ExtremePro card that was just announced is the conventional CF type not CFast so those read/write times are not reflective of the new CFast cards.
 
So unfortunately, while it is good to dream that you will get great raw video framerates with such cards.  The hardware is not compatible with the 5d3.