JohnBarlow

I have a newly adjusted and tested, super sharp CinemaScope for sale. This lens received a positive review from Andrew:   http://www.eoshd.com/content/558/kowa-anamorphic-lens-review   The KOWA 2X CinemaScope Bell Howell Anamorphic Anamorphot with 15mm rod rail support included. Focus range is 1.5m to Infinity at all F-stops with a normal focussing helicoid as standard.   You can purchase from me direct from the link in the footer or via my ebay listing.    You can purchase with confidence as I am an active member of this great forum and I am Paypal or Credit Card friendly and include a 14 day return with buyer paying shipping.     http://www.ebay.co.uk/itm/130990387757?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649#ht_4577wt_1140    

When I spoke about gearing I was talking about the relationship between the throws of the two optics, not necessarily toothed gearing.   The slotted approach is a well tried and tested solution.   I would advise you to accurately plot the throw of the scope and the lens on the same axes, to see the difference in the focus profiles. Set up some targets from 1.5m to INF at say 0.5m intervals, to get a high resolution plot of this behavior to assist you with the design of the slot. I would be surprised if it was not some snaky shape as you illustrated above.

This is a kind of FUD thread, so here is my contribution.   Firstly I would like to see the new efforts running with longer glass say 100mm. If they have trouble with these longer focal lengths then I am thinking that they could be a run off of the old Tokina generic molds made famous by Soligor and rehoused by Optex. The Soligor units sold for about £200 about ten years back and the Optex ones for about £600.   Two players in the 1.33x arena, should provide for more competition on price, which is good for the end user, but there are sharks in the water.   One such shark is Conurus, who quite conceivably could put out an anamorphic version of the speed booster, maybe as a 1.5x, which, in theory could be used with any lens. If this happened what would be the effect on SLRmagic and Letus pricing or production? More importantly would you like to be stuck with one of the latter when Conurus hits the ground running?   FUD works both ways :)

Good luck with this.   I am curious to know how you are going to solve the issue of matched focus. The Helios 44-2 I have, has a throw of about 3mm from 1.5m - INF so I am not sure if the 44M is similar, whereas the Sun most likely has a much greater throw of maybe 10mm over the range 1.5m - INF. First thoughts are that some gearing is necessary, but the track length at any focus position between the two may not exhibit the same linearity. If the focal length of the rear anamorphic group was the same as the 58mm Helios then it would not be a problem, but you would be extremely lucky if this was the case.

You would do well to trust your eyes rather than a credit list.   If you want to see what is in the final cut look at the background to each shot, thats where the telltale footprint of focusing can be seen   its called editing it may have escaped your attention

Maybe its just me, or the movies that I watch, but focus pulling/following is so well .... er cheesy.   Not to mention that if you have time to show all that, then most likely the movie is a drag. Everything today, at least in the movies I watch is down to slick editing. Focus pulling is lazy, far better to opt to open up the scene and show off the blocking and staging, after all cinema is a kind of ballet.   Say Hello Dolly !   Count the focus pulls in ARGO - there arent many!

Thanks for the link I was searching for better info on the movie. The IMDB have got it wrong about scope.   When watching I was reminded of the C lenses used in de Palma's Mission to Mars http://www.imdb.com/title/tt0183523     I guess I can be fooled between deep scope and deep spherical

New film from Malick   http://www.imdb.com/title/tt1595656/   Interesting use of Scope on a Steadicam, pretty much all deep focus.   Some of the Steady shots are a bit glitchy surprisingly.   Efficient use of cheap sets, eg new home building plots, car lots, cheap hotels, open spaces, looks like it was shot quickly and for pennies.   Worth a watch, to see what can be done for next to nothing.      

Sure   Forgot to add that both zooms are fitted with anti-diffraction irises, in the case of the 15x its 8 blades plus auto ND.   Mouthwatering ?

If you are interested in F2~/5-15mm 3x or F2~/8-120mm 15x full manual pro zooms (L glass) for crop mode EOS-M in either H264 or RAW, I guess you will need to watch my posts in the not too distant future. :)

I think you meant Julian, I was just supporting his Fotga recommendation :)

The hard stop issue with G lenses can be overcome with a Follow Focus with hard stops - Fotga make a really nice one and it is reasonably priced.   I have been NPS since God was a boy and I would definitely urge you to take a look at the G 2.8/14-24mm and if you like it then build your system up from there. Dont forget the Samyangs, especially the cine series with gears, the 1.4 versions of 24, 35 and 85 are all good.

I suppose he's pulled down the shades :)  (groan!)

It must be the memes   http://www.eoshd.com/comments/topic/3139-interesting-article-on-lens-coating-removal/?hl=killing+them+softly

That a rental, not a price  :ph34r:

IF View Factor can tart up the FW to give Exp Lock, then so can Go Pro   http://www.radiantimages.com/index.php/cameras/hd-beyond/gopro/712-novo   looks like money has changed hands :rolleyes:

Judging by the motion blur it looks like sub 1/50s shutter speeds in there

A freshly serviced one is up for grabs, Good Luck

Some Raw from EOS-M,   schmalfilm     https://vimeo.com/72310879

Show me the 5x F1.8 zoom that fits on the Rebel and then tell me how much it weighs and how much per day to rent.   These can be picked up and owned for 8mm and  16mm for less than one days rent of such a thing above.

I think you speak about the bottomless-pocket camera.   Sometimes the budget is not there and is not yours to dictate or massage. In today's world you have to work to a price and sometimes every shot is costed.

I see an emotional response....     Consider facts for indoor normalish lighting 8mm sensor @F2 ISO 400   FF sensor @F2 ISO 400 has to go to F8 ISO 6400 or more to match Deep Focus of 8mm sensor   I guess you never wanted to shoot deep in low light?    

So that favours the possible EOS-M2, all bets are off for BMPCC as far as standard 16mm and 8mm lenses.   As it stands EOS-M with ML in crop mode records h264 for 16mm lenses and 720pRAW for 8mm lenses with the help of some pink dot removal from the raw files

I mean record the 8mm and 16mm formats at 1080p via firmware crop

 Of course there is another side to the coin...   Canon could put a better card  controller into say the EOS-M2 giving 100MB/s, imagine RAW on that with the 3x crop mode (hello 16mm!)   Alternatively, BM could fix their FW to give crops for 16mm and 8mm cine lenses, instead of having us running around wondering and trying to figure out what lens works and so on.