Bioskop.Inc

@Lukas    I'm in the same boat, but my dilemma is 5D3 or BM Pocket (which i have on pre-order). I think if the Pocket does actually come out in the next 2 months, then i'll give it a go as it does RAW & Prores (also need to factor in the Speedbooster, which will definitely provide more options). If there are massive delays, then it might just have to be the 5D3 - but it is a lot more money & it will only do RAW (& the mushy H264)!   Another thing to remember is that A1ex has said that there is still free memory available on the 60D & he is working on trying to make use of it - it won't mean that we'll get continuous recording @ 1080, but it might mean we get continuous (or near continuous) @ 720, which will definitely be v.useable.   I think its a waiting game, for a few months at least, rather than a "I want it now!" attitude.

That is strange & never seen anything like that before! This seller is v.reliable & always comes up with some really nice (& sometimes unusual) stuff.

If you are wondering why PAL is 25/50 & NTSC is 30/60, then i seem to remember that its all to do with current/power differences between continents. 24fps is all to do with projectors & nothing to do with TV at all.

This is one of my pet hates too...how wide, how wide?! It should be, what's the best lens for this particular shot? & you can use the same lens throughout if you want (& have enough diopters). I think its been said again & again, but i really do think that 58mm &/or 85mm lenses just look the best with anamorphics. There's something about them that a wide angle doesn't have or come close to. Oh & moving the tripod back a bit never hurt anyone...

In a recent interview (one of the sat/sun papers) he actually said that he hasn't made a film for a while because he hasn't come up with an idea that he likes - no real mention of cash problems. In return, he's had a photography exhibition (he was a photographer first), does Painting & has an Album of music coming out soon (not his first - if you never heard his collaboration with Sparklehorse, then its a must). He also does music videos (NIN etc...), did a live Duran Duran concert (yep that's for the cash!) & numerous TV ads - the latest being for Chanel.   He'll do something again, i've no doubt about it...& it will be amazing as always!

What would they do to it? Make it slightly smaller & focus closer (with a gear)? Seems a bit strange why they'd bother...& could they make it look any better!?

This is probably the most misunderstood aspect of an Iscorama & is especially true of the 36/42. Single focus system so you can rack!? No! Single focus system to make your life a lot easier when trying to focus! Also, people go crazy about the 36 because its small & light (run'n'gun anyone?), but then they realise that the focus throw is stupidly long & they just can't get those shots that they want/thought they could get. I think there's a vid on Vimeo with a guy racking (the whole scale) with his 42 & it takes him ages... The mod will make it slightly bigger (with a gear) & so the throw might be a little better - but the mod is really about getting rid of that nasty plastic body (it looks really nice once its done). The 54 is the only one that has a manageable focus throw - i can wrap one hand around it & go end to end. This is the reason i cashed in on my 36 (& boy did i cash in!) & also the fact that the mod was too expensive. To the guy who asked could you have the same mod done to a 54, the only answer would be why? Its got a metal body, not a plastic one & if you get an extra large gear you should be fine...

I think what Lynch is really highlighting is the fact that the impact of the viewing experience will be different & so, in some cases, will undermine the original vision of the filmmaker (who probably was thinking about what his film would look like on a big screen). But, times change & if you're happy watching a film on a tiny screen then that's fine.   On another point, i've read an increasing amount of articles that have pointed out that TV is the new ground for innovative story telling & ironically Lynch's name always pops up in relation to how Twin Peaks changed everything. Another trend that is an interesting concept is the live streaming of an event at the cinema, be it a play, a concert etc... What this quite clearly demonstrates is that cinemas are starting to see that they do have to offer something different, because some people aren't necessarily going on mass anymore - the people with the real money i.e. not the 16-25yr olds that Hollywood has always been after/pandered to. However, i really see the rise of the small indie cinemas as being crucial to tapping back into a grouping that isn't being pandered too - the only problem is convincing them that its worth going back to the cinema...

Its funny you should mention Dogma 95, as i saw Festen on TV the other night & just thought it was sheer brilliance what you could achieve with a Sony Handycam! It seems we have become obsessed with sharpness/resolution in our digital HD world & completely lost sight of actually making films. I've been [slowly] piecing together a short film & my instincts always told me that the ideals of Dogma 95 should apply - didn't feel it necessary to follow their rules precisely, since they broke most of them anyway. Basically spend as little as you can, blag as much as possible (if you don't ask, you don't get) & use what you've got.    However, one thing does concern me & that has to do with why so many [apparent] filmmakers have cats & flowers!

All it will take is a couple of their big blockbusters to epically fail at once & they'll be up shit creek. Predictions are already running ripe for World War Z being a fail. I've pretty much stopped going to the cinema because i want to see something worthwhile, but admittedly i keep getting dragged to some big Hollywood showcase & i always feel ripped off - Iron Man 3 anyone?! The films i want to watch either never make it to a cinema near me or they get shown at small cinemas where the screen is tiny & the quality is often laughable, coupled with uncomfortable seats.   The French have got it right & they produce a lot of films each year (many more than the few that get an international distribution deal), simply because they care about their film industry & everyone (TV stations & other assorted production companies etc...) seems to chip in to get things made. When i lived there, we had a cinema that was subsidised by the local council to show films that the other cinemas didn't/wouldn't show - it was a real treat to always be able to see what you wanted. Also, most cinemas had 2 showings a day (12&4pm) that would be cheap (£2.50). They also stick up for themselves & their industry by taking a fair chunk of profit from American films that are released & putting it back into their own films!   In Bristol, there is the old ABC Cinema on Whiteladies Rd that has been empty for more than 10yrs because the people that own the building don't want it to be a cinema anymore! So it just lies empty in a prime spot, instead of being open & at least trying to make some money/show some different films.   Its a real shame & they don't even realise what they're doing! I just hope that they'll be the masters of their own downfall...  

He's been struggling for quite some time. I saw an interview with him a few years ago & he was exasperated that he couldn't raise money for a new film - real shame! The last thing i caught was that collaboration with Sparklehorse - music & a book of stunning photos! The real problem with him is that people forgot how big Twin Peaks was & when it came to Mulholland Drive, TV didn't want to know so it became a film instead. Perhaps he'll turn to crowd funding? 

Smoking that Cigar! Single & no Acrobats in sight, but i do spot a swing in the distance...

A1ex has said today to forget 10bit Raw - so it might come to the 5D3, but not the other cams. But they might pick up the original idea of trying to get better H264.   If they were £100, then yes. But realistically its a Pocket for me - if they ever come out! Prores & [maybe] Raw is just an unbeatable combo - its S16 as well. The great thing about using ML Raw at the moment is that it is a kinda test run for the Pocket - i can mimic the S16 sensor size, test out lenses/DOF & get a workflow sorted. Also, the 60D might have another 128MB of free memory that could be implemented, which would mean between 7.5-10secs at its best resolution - this could be handy for those times when a wider FOV is needed.

LOL! I think i paid more for P&P when i bought mine...

Well done for pointing this out! Its amazing how many people don't look at the 'Bid History' & this is exactly why you should always have a look during the bidding process. Both those Iscorama's had people raising the price & it is becoming a real shame that so many people are being scammed. Its also becoming a real shame that people are willing to hang their brains in the closet & pay so much!

I've got this one & if i'm not mistaken i think it is about +1.6 - its a very good buy & cheap to boot!

Sorry i have an old pro Sennheiser shotgun mic from back in the day & use a 4 channel field mixer into a Marantz PMD661. I just use on-board sound as a reference point. I think they are much the same, but before you jump ship... The Sennheiser seems to have some sensitivity switches on it, which can cut some noise frequencies - so play with them. Also, what about with in the GH3, can you manually set the recording volume, if so try turning that down - try different levels, start at 1 & work your way up. The problem with all DSLRs is that they left out decent sound in - so the sound coming from an external mic is too hot or loud.

If you like the Helios, then Tair 11a 135mm f2.8 (preset aperture with 20 blades) - awesome lens. Jupiter 9 85mm f2 is nice

The hissing noise is the classic why you can't use a mic with a DSLR - its interference due to the mic signal being too strong for the DSLR input or in layman's terms, its like trying to hammer a screw into a piece of wood. Its the good old AGC problem. With the Zoom you might be getting the same problem as with the DSLR - can you reduce/cut the dbl frequency on the Zoom? There should be some settings to reduce/cut high or low frequencies etc.. within the Zoom to do this. Google the problem, as there's almost certainly a solution for the ZOOM

The rear element sticks out about 10-11cm above where the 77mm thread is, so you could use a few step rings or see if you could get an extra large one made. Front thread is 95mm. Also, alignment isn't achieved by turning the whole anamorphic - it has a button on the top that when pressed rotates the front part of the anamorphic. Again if you look here at some pics of the 54: http://www.eoshd.com/comments/gallery/album/50-iscorama-54-mc/ Picture 3 shows the rear element sticking out & the 77mm thread. Picture 5 shows the screw-in adaptor, which covers/protects the rear element & then allows you to screw it into the filter thread of a taking lens - not a clamp at all, more an extension piece (like a step ring but much bigger). Always worth asking Stan, as he might have a few knocking about in a draw!

Just had this discussion with another forum member - lots of misinformation (or should that be not enough information) about the 54. I hate the softness BS, it always seems to come from people who don't own a 54 (you got to ask whether they are just trying to convince themselves that they just bought a plastic lens, which isn't going to last forever, compared to a lovely metal one). The sharpest Iscorama i've tested is a 42 - hands down no competition... & Soft is a matter of opinion, but mines on a par with my Kowa B&H - is that lens soft? It might be that some 54s are in better condition &/or need a service. Also, if you are using a soft taking lens then the 54 isn't going to help you out at all - it'll show you what the taking lens is or isn't capable of. Got to think a bit more cinematically with the 54 too & i guess a lot of people just think shooting wide open is a sensible idea - wrong! If you're not worried about weight, then no you're not crazy! I got rid of my 36 & bought a 54 - it just has that extra something that is missing from the 36, character. Redstan used to do a back screw-in clamp for the 54 & it acts like a protective shield for the rear element, which protrudes a lot (go look in the forum's gallery section & there are some detailed pics of a 54). So unless you have a taking lens with a huge recess in the front, then you're never going to be able to just screw it onto a taking lens.

Pocket, as it really is a budget camera, its MFT & S16 size sensor -  & there's footage out there which could suggest it'll come out first. The 4K is interesting, but the only signs that it might ship is from CVP which has now put up a shipping date instead of a Pre-order sign.

Perhaps delete this thread & we start again to make it a place for recommendations, tried & tested, the weird, & it could also be a place for people to ask questions about anamorphics they've come across (is this separation or how bad is the separation on this lens) or prices (eg. Q. Is £4k a reasonable price for an Iscorama? A. No! )    But don't allow, "i'm selling my anamorphic on ebay" type stuff - we all know ebay & can do our own searches etc...

Having just discovered the awesome ETTR on ML & how to use it to successfully reduce the sensor noise at small reliable crop factors, i'm beginning to really like the idea of the Pocket being delayed! A month, two or three would be lovely...

  Yeah, i know all this & its just got a hell of a lot worse than when i started buying anamorphics a few years ago. A good tip is to snap things up that end on Xmas Day! Discovered that this is the only day when drink fuelled buying actually pays off - 2yrs ago i snapped up 3 for under £100!