Tito Ferradans

I can cross being called "mighty" off my bucket list! Thanks @heart0less! The guide will be awesome, I'm just adding in the final images this week. As for the issue at hand, the fishing line indeed makes a cut through bokeh, but for a goPro it shouldn't be noticeable. The downside is that the gopro's lens is crazy wide and the fishing line technique doesn't usually play nice with wide angles. I can't think of much to do to make it flare more except working in post-production...

Oh, very much. I've given up on gimbals altogether a few shoots ago. They always fail. And look mechanic. As for the weight, I'm pretty flimsy, so when I have my Iscorama rig up, (rails, follow focus, v-lock, evf, I'll already feel it at the end of the day. And I only shoot handheld.

This image is the perfect example of why I don't like projection scopes. As for crop and FOV, you can always use the calculator. ? www.tferradans.com/anacalc/go

Hey @Rikoshet The reason I don't love big anamorphics is because although they cost you less at first, in the long run you'll be wrecked by hauling them around. Plus support gear and stress on your taking lens and camera mount. They usually have far minimum focus (past 4m), and not necessarily go wider than their smaller counterparts. Flares are a different universe and I lack info on that from lack of experimentation. Good luck!

why'd you copy my pinned thread?

I don't like being unfriendly, but the anamorphic store is the pinnacle of everything that is wrong in the scope and diy world. I'd stay away from this dude for as long as possible. As for larger scopes, I've seen lots of good stuff coming from them, the issue is what kind of rig do you work with to support it.

Heya! No, that won't work because optics don't work that way.

nope. that's not how the optics work.

Rapido Technology or Redstan.

The ratio is skewed. Hollywood held the vast majority of the anamorphic shooting. but the projectors needed the lenses for proper screening of the films. Since Hollywood exports American culture to the whole world, endless theaters had to have their projectors capable of anamorphic screening. This is a poorly written sentence. I just woke up. But you get the idea, right?

Yeah, the flares are hardcore, but you can tone them down in post in a few seconds. As for price, the Compact goes for $500, while it's hard to find a good anamorphic under $350. In the end, it's personal taste/budget. I don't have any SLR Magic lenses at the moment, nor any 2x scopes, I only held onto an Iscorama pre36, because I don't want to deal with double focus/single focus attachments. ?

Yeah, the Sankor 16-D or Elmo I will vignette like crazy on a Helios 44 speedboosted to full frame. Go for an 85mm focal length if you want full sensor coverage, or pull up 4:3 crop marks and live with dark edges in the shot. Best bang for the buck though, in my opinion, is the SLR Magic Anamorphot 40-Compact. Cheap, available, flares, gives you a taste of what the real deal is, and will work fine with your Helios on full frame.

what tweak said. More like a Sankor 16-D, since the Kowa 16-D is tiny.

Nope! Everything is gone. hahahaha

Hey Ian! That's awesome, man! (no surprise, I must say hahahaha) Could you estimate how much raw footage (in terms of time) you have, for cutting these 17 minutes?

That is A LOT more manageable, not shooting full frame makes the experience way easier and enjoyable. ? As for the square fronts, I love the artifacts.

I heard my name and *poof!* It's not that I don't like the look of the Hypergonar (that's of my most eye-pleasing tests), but all the hassle that comes from bigger setups. Not just from Hypergonars, but the whole big projection scope lot. I'm a weakling - aka I don't do too well carrying a lot of weight - and I don't like how long the setups get. Attached is a photo I took of the setup for that video. This is the Contax 135/2.8 behind the Hypergonar, and the FVD is at the front of the system for single focus. I don't realistically see myself shooting something with that. I fear it'd snap at the mount, or be impossible to balance on a tripod/shoulder rig. Then I don't like how narrow the FOV gets, forcing you to telephoto taking lenses. If not properly rigged and supported, you end up getting some angle on the lens itself, shifting your focus plane and rendering weird out-of-focus areas that shouldn't exist.\ I also get what @Julien416 is saying about me being bothered by projection scopes. I tested a lot of them. For three years every week almost. So we built this weird relationship in which their flaws started to really get on my nerves. There are a few exceptions and surprises out there, but the hassle just makes it unbearable for me. On top of that, I'm on the cusp of getting a set of LOMO squarefronts, which changes the game completely for me. I shoot a lot of low-budget indie stuff in which the shooting itself is ALWAYS in a rush, so adding an element that's time consuming and not everyone can understand gets immediately pushed aside (which is why most of what I shoot is NOT anamorphic and I want to change that).

Sci fi short, shot on Iscorama and Contax Zeiss taking lenses + Original 2.5K BMCC

You can get an adapter for the FVD that gives it 72mm threads, and then just use a step ring to connect it to the front of your 40-Compact.

I just posted this on my channel, it's my graduation project at film school here in Canada. Shot on a pair of Iscos pre-36 and wider shots on the Sigma 18-35 + cinemorph.

They're PL mounted, so no clamps needed, thank god. And my Iscorama has the Maxiscope mod on it, so it's also super easy to handle.

I'm getting a set of LOMO squarefronts. I grew tired of adapters... The only thing I kept was an Iscorama. ?

I sold my Kowas and my Rectiluxes a while ago, and just recently got a GH5, so my timing is all wrong. hahaha. There are older versions of the Helios that have 13 blades, that's gotta be smoother. You can see the hexagonal bokeh from the Contax in my early tests using the 3FF-W. Not the loveliest shape, I'll admit.

The super magenta tone had to do a lot with the lighting and the color the director wanted for that specific project (with the dancing). I was also using an SLog adjusted for more red tones, which kind of messed up the LUT. hehehe. For the anamorphic things I had neutral lighting and proper tones. ? Yeah, the GH5 has the best color these days, but I'm still fighting with the Sony (it's hard to give up full frame).

I don't know how I missed these before! Amazing shots, man! Could I borrow the last one for a side project?