Hans Punk

I eat Thorium for breakfast.

Respect for pulling off what you did...the Fleece is not exactly film friendly - those pillars are incredibly frustrating for photographers and videographers alike.

Yes, this is doable at a pinch...like you say with bigger rigs. I used to own a Stedicam 'SK2' and you could just about get away with it on that, as the weight of the the sled + ENG camera + ISO arm would be great enough to carry some slight external attachment. I only did it twice with a BNC cable coming from the back of the camera, being 'cable bashed' by an assistant whilst I was operating. Even that was a real hassle, as the gimbal is so precisely balanced, any slight tug from the weight of the cable would effect the pitch of the steadicam. A handheld stabiliser would be even worse, as the only isolation of of movement is within the gimbal, anything to offset its balance - no matter how slight will cause problems. By attaching any external tether/ focus whip to a steadicam (or similar), you are effectively making the isolated stabilisation null and void. The good news is that many applications of fixed focus steadicam can be done with success, With a wider lens it will help smooth out any visible bumps, as well as keep everything at a sensible depth of focus. Anything other than wide angle on a handheld stabiliser is going to start to reveal the limitations of the single gimbal design IMO.

Any Inertia of an external connection will be a factor in disturbing the balance/ trim of any stedicam or stabilizer, without the cost of a wireless follow focus it may be best to fix your focus/ stop lens down for each setup or simply use a wider lens that will help with DOF issues.

Agreed, full frame is not for everything, and for many applications a real pain to focus pull...but I guess if the original poster was worried about loosing the 'look' he was accustomed to with photography and video from the 5D2 - I would be worried to suggest a crop sensor such as the GH4, especially in 4k mode. Ah shucks... I've fallen into my own nightmare - actually debating what camera etc. Truth be told, there has never been so much affordable choice and logical reason to not be making creative work right now. I'm a believer in grabbing what you can afford to buy or rent at the time, try not to chase 'unicorn' cameras, spend your money in front of the lens because nobody will give a crap what you shot it on in 6 months time (unless it's film!)

Totally agree with Bioskop.inc on this. Would it not make sense to try Magic Lantern Firmware on a camera you already own? The full frame raw video from Mk2 or Mk3 is pretty darn stunning and is still yet to be matched by any other camera on the planet (pre NAB announcements). If I were you, I'd give it a try and if you like the results you could use some of the money you would save on buying a new camera to get a high speed CF card to start with - all you need to purchase to try ML the most cost effective way is to grab a Komputerbay 64Gb 1000x CF card. If you want to stick with 5D2 raw then maybe buy an SSD drive (or two) to add or replace your current ones if your current system is a few years old. Raw processing can be taxing on computer drives, in terms of storage and transfer speed, but all the short term pain in getting it up and running is well worth the effort in my opinion. Cameras can loose value fairly quickly(always been the case for video), although your 5D2 is a great stills camera...and will remain a great stills camera for a few more years. Now (for video) there is a new lease of life to that camera via ML raw...effectively giving your canon DSLR a totally free 'sensor upgrade' for its video output. I suspect that a lot of people are going to miss the full frame look when they jump on these crop sensor 4k bandwagons.

Nice grade and a great face on the lead actor.

All above lenses are sold, thanks for the character reference guys! Found one last lens in my drawer to shift (my last sales post, sorry!)...a re-branded 1.5x CentaScope fixed focus type, called 'Palamorphot' but a virtually identical build (widescreen center, London). This lens has an un-tinted/ clear flare from a different coating treatment which is quite unusual: ebay link: http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=251467788216 Cheers x

Some pretty captivating images in there. Not bad at all for first experience with the eiki type lens. If this is your first shooting of duel focus- it is something you will get used too, especially when the LCD screen can give a false sense of sharpness when the image is squeezed onto it. ...like most things - practice makes perfect. Maybe grab a set of cheap diopters to play with - they will allow closer focus and work very well with the shooting style in this video (for closeups/ interior details etc). It's worth having a play to check what the minimum focus distance /sharpness is on the eiki when at various stops on taking lens, you should find the lens sharpens up noticeably from f5.6. I suspect the softness in many shots is caused by the taking lens being close to f2 for a few shots? (YouTube compression probably makes it look even softer) I really like the look, I would love to see more when you have refined the setup to get the focus/sharpness a bit better (you will).

But then the pretty writing won't be there! ;) - love the design of the front on those iscomorphots , like a classic Firestone tire

Top advice from Bioskop. @holymountain..I would say that the money you saved on getting a good deal on the lens should be invested in a quality rear Redstan clamp at least. A front thread can be fashioned from a step ring. I forget the correct size 76-72?, but it will slide over the front of the lens body and can be wedged on by first wrapping the lens body front with a few mm's of PVC electrical tape and pushing the step ring on - giving you a 72mm thread for diopters. This is a decent (no damage) solution for the short term, but no substitute for a proper Redstan front filter clamp.

Flare is relatively subdued from these Iscomorphot 8/2x type lenses when compared to some other lenses...it seems to be within the isco family coating recipe. In brighter light/ sunset situations however it can look wonderful and golden warm- and it is not too overpowering. The MC helios is not helping at all, it is further dulling the flare sensitivity....kill it with fire. Use a Helios 44 or 44-2 (older version of your current lens) to get more flare response from this lens as they have more simplistic coatings. A greater matched Helios 44 for this lens would be a DSO FF58 lens - un-tinted with cleaning marks. This would get you even more flare sensitivity and artifacts you would ever want with that S8. If you want to go crazy, you could de-coat the front optic of the Animex to get much stronger flare sensitivity. But seriously don't do it...looks like you got a nice clean example there, best to keep it that way. P.s - get a Redstan clamp for that iscomorphot...your arm will get tired soon.

In a nutshell: Stick one on a taking lens, stop that lens down to get variable range of focus distance, focus now controlled via taking lens + diopters for closeups under 3-4 meters. I have found that lenses such as the fixed focus iscomorphot 8/2x and the Centascope 1.5x tend to have a 'sweet spot' of minimum focus of 3-4 meters and by taking the camera's taking lens to infinity, the fixed focus optics will generally accommodate that distance in it's optical design. (Stopping down the taking lens will also improve the focus range/sharpness as that is increasing depth of field .) The advantage of fixed focus lenses for DSLR use (I have found) is that they work very well with diopters. QuickHitRecord Has an beautiful example in his 'isco anamorphic shootout' video of the fixed focus iscomorphot 8/2x - superb result with diopters. In increments of diopter strength, it is possible to 'reel in' the minimum focus to great usable effect, and to allow rack focusing (although often limited range) to be achieved. I have found these lens types are perfect for portraits & closeups, with a low power diopter such as a Tokina +0.4 it becomes very usable (and sharp) for many indoor/closeup situations.

Hi Dahlfors! Unfortunately, the redstan clamp is only offered with the iscomorphot 16/2x auction. The iscomorphot 8/1.5x (baby iscorama) auction is only for the parts pictured...for spares or repair. (no clamp offered with this) The only other picture of a redstan clamp is In my CentaScope auction, this is 'for illustration purposes only' and not included in the sale. Hope that clears things up :) Regards!

Normally I disapprove of using the forum just to flog lenses...but screw it, I'm having a clear out! Thought it worthy to post, as there are a couple of lenses that I'm selling that I have not seen featured on the forum, and are pretty interesting. They are listed on ebay but would be happy to answer questions here. For sale: 'Centascope' 1.5x (fixed focus) Super-80 'Magnum' 1.5x Iscomorphot 16/2x (non MC) + Redstan Clamp Sample footage of centascope in low light (super-80 'Magnum' is same optical recipe/same flare but with bigger optics and focusable helicoid):

RED Epic Dragon Sensor Shot at 6K. Credits: Production Co: Brunswick Studios Creative Agency: The One Off Director: Dan Smith Producer: Rohan Tully DOP: Steve Marshall Steadicam: James Davis Grip: Carl Dunn DIT: Valentine Rocha Post: MyTherapy

Keith Floyd really knows about the 'Cook look'

Very nice...'IMG 4983 2' looks rather lovely.

1) Hire an experienced producer. 2) Hire an accountant. 3) Get a Production budget. 4) Talk to camera rental/ sales house. 5) Listen to their recommendations. 6) Get a package deal.

Very underrated lens IMO, super sharp with nice purple/pinky flare. Had pleasure of owning this lens previously (was sorry to have to let it go) - it's like it just came out of the factory, 'Boxfresh' as the kids used to say. Redstan supplied prototype internal collar (see pictures) - for extra glove-like snug fit with his clamp. Good luck with the sale Francisco!

I'd be checking the other boxes for Hawk's. :)

135mm here in better looking shape... http://www.ebay.com/itm/Ultrascope-Arriflex-Zeiss-Optic-135mm-f-4-Anamorphic-Prime-cine-Lens-Arri-RED-/121235349198?&_trksid=p2056016.l4276

http://www.ebay.com/itm/Iscorama-54-Diopter-Voightlander-Focar-B-Close-Up-Filter-95mm-/181278018813?pt=Camera_Filters&hash=item2a35030cfd

GH2 with cropped spherical footage...Looks very nice but does not look anamorphic in my opinion. If it is, it must be a LA7200 on a superwide taking lens that is dissolving any anamorphic feeling from the image.

Thanks au8ust.   I am curious due to having just bought one in fine condition (boxed with original mounts), and will be picking it up today. I'll probably do a test video in a few days and report back in a new thread or this one.   It looks like a beast...52mm rear and 83mm front!   http://s14.postimg.org/jys068x2p/image.jpg