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JohnBarlow

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  1. JohnBarlow
    @Liszon I can understand what your saying and I also thank you for your kind words. When setting a target performance in the design stage of the Rectilux I was looking at this Angenieux zoom below on the basis of aiming very high and if I pull up a little short then it would stilll be good. The Ang is very much a pricey lens at over 20x the price of Rectilux 3FF http://cvp.com/index.php?t=product/angenieux_56-152f 60,000 UKP including tax Sure the build quality of the Angenieux is neat but when it comes down to optical performance with similar close focus capability, this is what I get when I put a £30 Tamron 3.5/70-150 zoom from ebay behind the Rectilux 3FF (click the image for full 1080p size) Can you say the Angenieux would produce a shot which is 20x better? How about 10x? 5x? 2x? Do folks want quality or cheap?
  2. JohnBarlow
    Thanks EeeCeeGee !
  3. JohnBarlow
    Thanks Oz, Theres none cheaper unfortunately ;)
  4. JohnBarlow
    The Flek has 49mm filter thread Also have a look at Schneider Curtagon 2.8/35 and also the plastic Nikon AF-S 35mm f/1.8 G DX
  5. JohnBarlow
    @valid '?do=embed' frameborder='0' data-embedContent>> details are in the thread above. It is a custom glass/optical solution, perfectly matched to the base anamorphic. You fix the scope and rear lens and focus at the front. Contact me at the website if you want to discuss further, the link is in the thread or below in the footer.
  6. JohnBarlow
    Yes, great stuff If you ever need to have your KOWA B&H transformed into single focus with a minimum focus of about 2ft, just let me know.
  7. JohnBarlow
    I set up the blog today http://www.rectilux.com Over time I will be adding news and posts on how to setup the Rectilux 3FF with various taking lenses and how to operate the Floating Zone Focus.
  8. JohnBarlow
    Yes I have a solution for the KOWA, Contact me at my website when you want to go ahead on this. If you have a sketch of the kind of support you have in mind just send it over as well. PM sent
  9. JohnBarlow
    No dirty lies here sir! I think you misunderstand what I mean. I am well aware that the rear optic of the iscorama 36 or iscorama (non 36) is not large enough to deliver the 'light transmission' required to deliver exposures as you would expect from the 85mm f1.4 on it's own, in order for that the rear optic of the iscorama would need to match that of the 85mm f1.4. However, I am sure you're aware that the coupling of the optics will still yield the 'look' of a f1.4. exposure will take a hit granted, but we're here for the 'look'. even if there were 2 stops of light loss due to the limited transmission, we're still talking a f2.8 exposure which is still adequate. At most I'd estimate maybe a noticeable loss of 1/2 - 2/3rd of a stop due to the limitations of the iscorama rear optic. Put an iscorama on the front of a 85mm f1.4 zeiss and it doesnt degrade the image very much at all (even wide open) thus in resolving power terms the Iscorama will support use at f1.4 as well as the fastest cinema anamorphics can!, but do it on a full frame sensor. If you are charging similar amounts of money for your product, put it against the competition your price point dictates otherwise no one will buy them. This is very easy to resolve. Place some newsprint on the floor and pull out a length of retractable steel rule. Then shoot three photos of the same focus point on the rule ; one at F1.4, F2.0 and F2.8 and post them here so that we may evaluate any change in DOF and light transmission between them. if you want to remove the loss of transmission effects and the cost of aquiring an 85mm f1.4 for testing purposes just stick a 50mm f1.4 lens on the back instead, on full frame and show us the comparison. The iscorama rear optic is big enough to transmit enough light for a 50mm f1.4. You seem to forget that I own a '68 which does not support a 1.4/50 wide open re. weight. A 100g increase in weight, as well as what looks like a 1/3rd length increase (before the diopter is at full extention) is a noticable difference once hanging off a prime. Those rectimascopes are pretty long as standard from that I recall. Have you used an Iscorama before? On a helios 44 it's pretty damn compact and doesnt need any rails. I am not entirely sure where you are going with this. Maybe you think I just store my '68 in a spotlit trophy cabinet next to my fabulous collection of Faberge eggs? Then again have you ever put your ISCO on the end of a 75-150 zoom lens?, did you ever listen to those little M2 screws in your camera mount creak and groan under the bending moment? Sure the Rectilux is a little longer but have you noticed that for a given lens size, 2X Scopes tend to be a little longer than 1.5X, with the 1.3X size being the shortest? Also how long and heavy does the ISCO become with that deliciously expensive Tokina 0.4 hanging off the end of those plastic screw threads. Metal grinding against plastic after repeated screwing on and off - there can only be one winner and it isnt the plastic threads. Here is a photo showing the entrance pupils I don't mean to piss on puddings here, but as an Iscorama user, and enthusiast I felt compelled to come in and query constructively the product since there is suggestion that it will be a possible replacement for the iscorama. If this is the case then that's awesome. Richard, I am not out to diss the ISCO. It's just that people will want to know how the Rectilux 3FF stacks up against the 'most desirable Iscorama (Wiki words)' Tell you what, when all my tests are finished, I will be selling my top condition ISCO'68 complete with original Iscotar together with a specially matched 3.5/70-150mm zoom lens. I will give you first refusal on the package. Rectilux is not awesome, it is simply the most significant development in the history of anamorphics, the ability to revisioneer any projection scope into a follow focus cinematographers tool.
  10. JohnBarlow
    Hi Bruno, As mentioned earlier the Rectilux has similarity to how a zoom lens works, the focusing group, variator group, compensator group and the master group get transformed into the focusing group, the scope and the taking lens. Of course, as always, the devil is in the detail.
  11. JohnBarlow
    I think it best to put these issues on hold until the shootout takes place. Then any discussion will be based on hard facts instead of conjecture on your part. Oh, btw, to fully utilise the extreme bokeh from a 1.4/85mm , would require a scope with a rear optic port of 85/1.4 = 61mm the EP for an ISCO36 gives an f/stop of 85/36 = 2.36 the EP for an ISCO'68 gives an f/stop of 85/30 = 2.83 thus it would be fatuous and a dirty lie to claim an ISCO36 or '68 can support a 1.4/85mm wide open, regardless of sensor size. Regarding weight, the ISCO'68 weighs in at 400g in its original plastic mac, without the supplied low budget 2.8/50mm ISCOTAR triplet. Whereas the Rectilux 3FF weighs in at 500g in its full metal jacket and of course the nice and thick 10mm front element plays its part. I would hardly call it heavy. A Van Diemann rehousing/conversion is heavy and not much in the way of additional functionality. Ok, so lets adjourn this debate/discussion until the shootout. best
  12. JohnBarlow
    If you read it that way, then my apologies. However my offer to meet up still stands if you can find the time.
  13. JohnBarlow
    Many thanks - you know too much already- the black helicopters are heading your way haha :) All joking aside, I must distance myself from any comparison to the ISCO solution to either be hunted down by the patent attorneys or offered a job. This is my own work, my IPR and custom recipe, developed through countless iterations optimising merit function and solves for a wide range of projection CinemaScope lenses (yes even the gold and red ones ;)) This project is the culmination of over two years hard work. In fact I offered Andrew Chan (SLRM), this concept on a plate in this thread http://www.personal-view.com/talks/discussion/4466/most-wanted-anamorphic-lens/p20 albeit a very simplified version for concept purposes only, but he turned his nose up on it. So here we are, the holy grail with Floating Zone Focus (Nikon calls this Close Range Correction, Canon calls it Floating elements I believe). For an Iscorama to get to 0.65m it would require four whole turns of the focus unit and the helicoid would have to be extremely well made to maintain centricity at such a long reach. When you own a Rectilux 3FF you will also get excellent service and support as well as priority access to future add-ons such as a 4 waypoint storeable motorized follow focus unit and a super slow cranked zoom mechanism. More on this later.... There will be more tests on the Rectilux channel on Vimeo. Stay tuned best, John
  14. JohnBarlow
    I cant give out too much information as I have to protect my IPR, but yes there is a multi-element focusing front end which performs all the magic. Supplier information on optics and precision metal fabrication is sensitive business information. However if you fancy a trip down the East Lancs Road, we could meet up at the Hard Days Night for a pint and you could try it out with your GH4 and shoot some amazing scope if the weather is good. PM me if you want to set this up. Dont forget your wallet :)
  15. JohnBarlow
    Hi Cal, Yes sir, it really really really is single focus, its the real thing. You can pull focus, follow focus and get in really close. Furthermore you can use a zoom as well as your favourite prime glass. Its not only that of course - its CinemaScope just like the movies and it is a professional tool with minimum focus of 0.65m (thats 2ft imperial), no dioptres required, focus throw of 195 degrees, comes with a Steam Punk support rig for 15mm rails and works with prime lenses and zooms in the range 50mm to 200mm and it weighs just 500g (just over 1lb imperial). The mumps are almost undetectable. It is not just a conversion - it is a completely custom developed optical prescription using vintage scopes. The vintage look digitally remastered through a process I call Revisioneering. It is laid out here transferconvert.co.uk/cinemania/rectilux-3ff.html
  16. JohnBarlow
    Oh I nearly forgot to tell you that the beautiful colour tone seems to be a result of using gold filter ND optical glass. I got mine here http://www.ebay.co.uk/itm/110676899420?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649 The 62mm size is a perfect match to the Rectilux 3FF and the gold filtration has in my opinion a pleasing effect on the imagery, even though the listing says there is no effect on colour balance - there is - but it is very nice.
  17. JohnBarlow
    Hi Francisco, I am pleased you like it. You are the 2X Moller expert (hear my train a'comin'), so it brings a smile to hear you say these nice things. I will be posting more testing parts on the Rectilux channel, and I will show close focus with zoom (stunning!),focus pulls, follow focusing, lots of flares and of course big bokeh. I know you will not be disappointed. :) I also will include some 32:9 as you said you like this super wide format. In England the nights are getting darker quickly now, so I will be able to shoot some night-time footage also. Any questions you may have I will be pleased to answer them. If you want to shoot a short in London let me know. Stay tuned. :) best
  18. JohnBarlow
    Thanks Francisco, I will send you a small clip direct from the camera to play with later today.
  19. JohnBarlow
    Hi Andy It is not too dissimilar from the way the focus on a zoom works see here http://www.adaptall-2.org/articles/InsideZoomLens/InsideZoomLens.html
  20. JohnBarlow
    Thank you, the focusing elements were designed to be that good.
  21. JohnBarlow
    and yes one of the tests will be a shootout with IscoRama 1968, keep watching ;)
  22. JohnBarlow
    This thread is dedicated to the discussion and testing of Rectilux FF single focus CinemaScope adapters For product specification, pricing, availability and business matters please visit my web site below as a matter of courtesy to our host. http://www.transferconvert.co.uk/cinemania/ The vintage look digitally remastered... revisioneered I have a vimeo channel set up for the tests here: hxxps://vimeo.com/channels/rectilux (passwords are on the web site) I also have a flickr account set up to view stills, which is the best way to evaluate sharpness etc www.flickr.com/photos/125986580@N05/sets/72157646313357302/ I will shortly have a blog up and running, but you are very welcome to discuss these breakthough products here. Blog now set up at http://www.rectilux.com
  23. JohnBarlow
    Well done Seb, l liked the car chase stuff, very Luc Besson-esque ;)
  24. JohnBarlow
    Hi Andrew, good luck with your project. Does this modification convert the Iscoramas to 2X CinemaScope as loosely implied above? best John
  25. JohnBarlow
    22 means the diameter of the rear optic is 22mm
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