JohnBarlow

ProE>Simulink>Matlab   and good design intent....   and find a local college to give you time on their apps...

$5K to cut a helicoid seems a bit stiff. I have had 4 starts cut for a fraction of that cost to 20 micron tolerance.   Matching optics is a bit of a black art, if you're pushing a purely mechanical solution there is a tear down to view below   However it must be said that an electro-mechanical solution is best as it affords the flexibility of swapping the back lens for character and aesthetic reasons.   Anyway enjoy the tear down      

Crouching Tiger Hidden Dragon II: The Green Destiny

You could always try this one (not mine) http://www.leboncoin.fr/image_son/518477743.htm?ca=12_s

EOS 50D running MLRAW and take advantage of the crop modes   Price around $500   You owe me $3500  :unsure:

You can also use one of these, just sayin :)   http://www.ebay.co.uk/itm/DC-3-3V-30V-Red-LED-Panel-Meter-Mini-Lithium-Battery-Digital-Voltmeter-/370921448298?pt=LH_DefaultDomain_0&hash=item565ca4236a

Just realised that V battery comes with charger, still waiting for it to arrive though :(

The above battery is a v-mount and can be found here http://www.ebay.co.uk/itm/221258458850?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649   I am building a Scope Steadicam rig and got this: http://www.ebay.co.uk/itm/360764269513?ssPageName=STRK:MEWNX:IT&_trksid=p3984.m1439.l2649   I figure I can charge it on the mount with any 15v charger since it is a component level unit, however there are plenty of cheap v chargers on ebay     If you want the OP's battery style, the cheapest (half price) I found is here: http://www.ebay.co.uk/itm/380725018911?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649   V mount will get cheaper though and have the charge remaining indicators...

These FF Sony's are very likely going to drive up the price of legacy glass.   I have been stashing choice legacy glass for years now, so take heed.

You should have witnessed the all out war being waged at dpreview when Nikon put video on the D3S...

130Wh - not too shabby at £125

I've been hearing about people using a 3D printer to print out a mount.   This sounds incredible, especially for lenses that use hard to find adapters even if they exist.   Does anyone know where they get the cad files for this purpose?   Sounds like a great solution for small runs for rare lenses.  

An oldy but goldy, but worth another look if you've seen it before   http://www.youtube.com/watch?v=C5yhxqkJiAQ  

  Well well. Let us hope that others will ask the same questions and that you take them seriously without them having to make a vested interest in this unit.   My specs are upfront, nothing to hide.

  C'mon Andrew; your'e sitting on a mountain of choice glass which no doubt includes the aforementioned lens range and it did not cross your mind to see how this thing performed with them. What kind of review is that?   You got me thinking that you may have sold yourself cheap for the price of a pizza  :rolleyes:   Asking folks to spend $799 or more without an option for a refund is illegal business practice in the European Community, as it contravenes distance selling regulations, inciting folks to do it is an entirely different ball game (cf bollocks!)   So what is the answer to my question - let me guess - B-L-U-R ?

    You missed my earlier question...   $799 for an adapter without a spec sheet is worrying. I will expand upon my earlier question.   Can this adapter be used with 1.8/85mm, 2.0/100mm, 2.8/135mm and 4.0/200mm lenses wide open? What do you see when these lenses are attached?   You have tested this unit - what is the answer?

Andrew,   'The reference to ’50′ in the title of the new anamorphic is the size of the rear element – a large 50mm',  this is the entrance pupil for the attachment right?   So, can you use a 2/100mm lens with this unit?

Here is some proof for those that might be having difficulty grasping this physical effect   transferconvert.co.uk/cinemania/F18desqueeze.jpg transferconvert.co.uk/cinemania/F28desqueeze.jpg transferconvert.co.uk/cinemania/F4desqueeze.jpg   The images where shot with a 1.8/85mm behind a 32/2x Moller and the exposure were approx the same using shutter and flash intensity. Now look at the cuddly toy in the first two images, same level of OOF blur whereas the last image shot at F4 the cuddly toy is much sharper. The conclusion is that if you place a 1.8/85mm behind a 32/2x Moller the composite is F2.8. The actual limiting value is 85/32 = F2.65

Which is the exact reason why you need one of these if you want to shoot 2.8/200 on a 5D  ;)  

Hi Everyone,   I have an update bulletin on Rectilux No 5. The last weeks have been spent performing mechanical tests on the first batch which came back from the precision  engineers and some minor adjustments were found to be required in line with my policy on quality control.    The exciting news I have to report is that I have revised the specification above upwards so that the minimum focus is now 0.75m. Thus the focus range is 0.75m to INF without any need for dioptres. I repeat NO DIOPTRES required.   From early optical testing, I found that a minimum focus of 0.75m was achievable with a 1.8/50mm back lens at F1.8.  Furthermore this minimum focus is so sharp that a page of ariel text pt size10 is showing focus peaking at 10x LCD  magnification even with the sharpness and contrast on the camera turned to the minimum, which means that 4k video  resolution is perfectly achievable throughout the focal and aperture range.   When the mechanical changes have been implemented by the precision engineers, I will embark on more formal testing  and provide samples.

I am curious to know which ones you are keeping and why?

With a 2x CinemaScope lens the goal is to produce a 2.35:1 aspect ratio image with the 2x compression. In post you take the recorded image and stretch it horizontally 1.5x to (1920x1.5) = 2880 and also compress it vertically 0.75x to (1080x0.75) = 810.   Then you keep the middle section 1920 wide, which means you discard the sides. The final corrected image is therefore 1920x810 which is 2.37:1, with black top and bottom borders in a 1920x1080 frame. This is the aspect format used in Hollywood movies and it has the desirable 2x compression.   The reason you discard the sides is because the camera records in 16:9. In Hollywood movies they use something closer to 4:3 which is a better fit, but the scope is always 2x.   Using this technique with a 5D or full frame camera you have to use longer lenses starting from 85mm upwards.   (NOTE The 5D3 can shoot Magic Lantern RAW format which means that you can set a custom aspect ratio. So if you use say 1280x1080 crop then you can use lenses from about 60mm, go to the Magic Lantern site to learn more on this.)   Now for the tricks :)   I have set up a shot with a 5D and 1.8/85mm lens to demonstrate this to you, using a Moller 2x   The photo transferconvert.co.uk/cinemania/testkit.JPG, shows the kit used for this quick test.   I didnt do a perfect align so there is some non symmetric framing. Focus is set to the Beatles record.   Then I took the images into Photoshop to simulate a post operation using the technique from the first two paragraphs and they are here: transferconvert.co.uk/cinemania/F18desqueeze.jpg transferconvert.co.uk/cinemania/F28desqueeze.jpg transferconvert.co.uk/cinemania/F4desqueeze.jpg transferconvert.co.uk/cinemania/F56desqueeze.jpg transferconvert.co.uk/cinemania/F8desqueeze.jpg   These images are now in the same format that you see from Hollywood,  with a mild fall off in the corners as you stop down   You will have even better results using say 90 or 100mm, and if you use Magic Lantern RAW you can record at 1280x1080 then stretch to 2560x1080 which is better than Hollywood 2k format and if you want blu ray just uniform scale by 0.75

I am looking for an affordable solution to create spheric panoramas, with anamorphic and spheric lenses. I happened upon this device which could be motorised   http://www.ebay.com/itm/360732911280?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649     Wondered what people think...   The goal is to create virtual sets of interiors where shooting permission would not be likely, but where they may allow someone in for half hour to get the spheric panorama and then green screen the acting back at a studio facility.   Also looking for software that deals with keying in such an application taking on board the need to match lighting, radiosity and so forth.

Can you upload a snapshot showing aperture reflections?   I would like to see any contaminating effect on these, if any

Shouldn't be a problem getting wide angles for this :)