JohnBarlow

This is a fair price for a new condition boxed scope   http://www.ebay.com/itm/Kowa-Bell-and-Howell-2x-Anamorphic-Lens-Perfect-Condition-w-Lens-caps-RARE-/181235078150?pt=Camera_Lenses&hash=item2a3273d406

I use lightweight golf bags for lightstands, tripods etc

When this question came up before, my advice was the same as Andys.   Since then I have found a Scope which doesn't like this and produces mad inverted reflections/ghosts.   For example someone in a white shirt walks across left to right produces an upside down ghost going right to left.   So basically use what works best and watch out for ghosts.  :ph34r:

Yes, I agree looks good.   These Micromorphic rigs are gaining popularity through Seb and yourself.   I am looking to build one using the cheap EOS M, which can shoot 816x2176 via a 2x using ML RAW.

My advice is not to sacrifice the art for ergonomics. Nothing touches Cinemascope like real Cinemascope.   There are some Steadicam Ops out there who would walk off set if you assigned a puller to their crew   This is where it is...   https://vimeo.com/77266490

Hi Christina, You have a 5D3, then with Magic Lantern RAW and using the crop modes you have the perfect full height CinemaScope camera. Full height CinemaScope is 18.6mm sensor height and the crop modes will easily accomodate this. The Scope you should be looking for is a 2x stretch and the Bell & Howell Kowa 2x is a perfect choice for beginning your journey into Scope. Later you may want to upgrade to the RectiluxNo5 which I am developing The Kowa looks like this one

a la carte?  :rolleyes:   http://www.vantagefilm.com/file/pdf/equipment_47.pdf

Looks Good, Print it!     My only critique is that I do not like actors facing/looking out of frame on a wide shot (cf 00.40), i find it distracting  :)

http://lenses.zeiss.com/content/dam/Photography/new/pdf/en/cine/master_anamorphic/master_anamorphic_depth_of_field_tables_meter.pdf  

Jeunet sure knows how to light a scene, like awesome for example   This time he gets to kick around the new Zeiss Masters and Alexa   http://www.imdb.com/title/tt1981107/?ref_=nm_flmg_dr_1   click the trailer  

Yep,   if you wanna get super sexy, fit a 52>55 stepring then plonk on a Leica Elpro4 acromat 0.7

Back in the 50s and 60s it was all abut the width, from 70s to today it is all about the compression and flares   CinemaScope is the only thing that gives 2 stops of extra bokeh for a given FOV   If you can't see it then you're not paying attention   https://vimeo.com/77266490

Unscrew the thin lens hood to reveal 52mm thread,   Then fit Nikon 0 or Nikon 1 or both  :rolleyes:  :rolleyes:

BLOW OUT     https://vimeo.com/76478462     here an artsy farsty one   htotps://vimeo.com/groups/33332/videos/24358873       more study here   http://nofilmschool.com/2013/10/deep-focus-use-of-split-diopters-in-film/

Of course we should not neglect the use of split dioptre, especially for scope and these babies are like rocking horse schit to find :wub:

Relax, relax   If the Chinese can do this to the cost of the Metabones: http://www.ebay.co.uk/itm/Focal-Reducer-Speed-Booster-Nikon-G-Lens-to-Sony-E-NEX-Adapter-6-7-5N-5R-F3-3N-/370907433021?pt=US_Lens_Adapters_Mounts_Tubes&hash=item565bce483d   nice stuff at the bottom of this page btw http://rogerdeng.com/lens-turbo-review/   ....Then they will eat the one & a terd Sumo-Geller for der breakfast. Get one free wid yer egg fried rice  :rolleyes:   I know a place which has plenty stock of Soligors Euro200 a pop, brand new old stock, this is the real price of the Sumo-Geller glass.

Some say that the glass was crushed to a diamond in the butt cheeks of a Sumo wrestler, others say that the glass was bent in the hands of Uri Geller himself

I use one of those 5 ways on my lampheads to scatter the beam. Makes for interesting light.

Yep, it looked like a cheap chinese motor probably 6v with a pot to control speed, the eccentric looked like the earth brass pin from a UK mains plug but cut down.   I guess someone could make nice looking ones for cheap to sell

I was out and about the other day and saw some fellow filming with a very odd thing in his camera hotshoe.   It was a small motor with a small eccentric weight which gently vibrated the camera at some set speed. He explained that is was a cheap (<£10) way of ridding moire from his footage.   I thought he was maybe quite mad, but later found that Pentax are using their in-body stabilisation to perform the same function.   How weird is that?

One thing missing from the praise of the 5D2/3 and MLRAW, is that they are the cheapest way of recreating the original full height CinemScope aesthetic of 18.6mm, most everything else is far from this. Using crop modes (6:5) very close to the 18.6mm standard is do-able. Why settle for less?

I think Andre Fougerat and the rest of the team at Satec probably predate Lomo,   If you are in a buying mood PM me for the link (forum rules means I cant publish the link)

Hey Chris,   I don't own this lens, but merely showing how it does single focus for anyone interested.

"The closest new and available 1.33x option that you could compare would be a Hawk V-lite 35mm at somewhere over $40,000. "   I would be most interested in these tests...   here following are the specs for the HAWK, I would be interested in the the focal length range comparisons.     Hawk® V-Lite Anamorphics 1.30x SQUEEZE V-Lite 20 20 mm T 2.2 - T 16  V-Lite 24 24 mm T 2.2 - T 16  V-Lite 28 28 mm T 2.2 - T 16  V-Lite 35 35 mm T 2.2 - T 16  V-Lite 45 45 mm T 2.2 - T 16  V-Lite 55 55 mm T 2.2 - T 16  V-Lite 65 65 mm T 2.2 - T 16  V-Lite 80 80 mm T 2.2 - T 16  V-Lite 110 110 mm T 3 - T 16  V-Lite 140 140 mm T 3.5 - T 16