Cineman1

Send Alan an request through the Redstan website. I'm pretty sure he has one or two in stock at the moment.

The latest Redstan adapter for the Iscorama 36 is fully adjustable in terms of the distance from the rear anamorphic element and the front of your taking lens. It uses an interior threaded design to achieve this. Very useful and extremely high quality. Also very stable and closer to $100 if I recall correctly. I own one...and you can to, while they last. It was available on the Redstan website the last time I checked. Any of the adapters you find there are top quality, very stable and custom fit. Worth the money in my opinion.

I've been giving this some thought myself and here's what I've come up with. It's largely about focusing the viewer's attention. Lets use the film Alien as an example. Alien was shot anamorphically as was Blade Runner as Ridley Scott used to shoot his films in this format. Anamorphic lenses give shallower depth of field for a comparable field of view in spherical thus allowing you to ( or forcing you to) separate the subject matter from the background more effectively. In still photography terms refer to old hollywood portraits by the likes of George Hurrell who are in my opinion unmatched in elegance by any form of celebrity portraiture since. He was shooting with an 8x10 camera with hot lights and usually had razor thin depth of field. This made for intensely beautiful images when used properly. I feel the same is true of anamorphic in Alien, Blade Runner, etc. In alien the shallow focus really helps to create mood and probably made the sets look even better by blurring them out more. On the director's commentary track Mr. Scott even notes the difficulty of the shallow depth of field and points out a shot in which the focus was lost for a moment. I used to instinctively assume that it was better to have all the characters in frame in focus but have since learned that that's not necessary and can often clutter up the shot. I'm constantly surprised now as I watch favorite films shot anamorphically at characters that are out of focus that I never noticed the first few viewings. The smeary effect in the out of focus areas when using anamorphic is also a strong part of the look that I feel most movie lovers probably unconsciously associate with CINEMA. I certainly do...although it's more of a conscious association now. The flares can also be a nice touch but I feel they are best suited to science fiction. Shooting with anamorphic lenses slows you down but the results can be worth it...if you have the time and budget. I also think that the added difficulty of shooting anamorphically forces the D.P. to work in a way that insures better results. It's easier to cut corners with spherical. Ridley Scott shoots spherical now and I personally don't appreciate the look of his films as much as I used to. He can still make an incredibly effective film like American Gangster with spherical but it didn't have quite the magical visual element(s) that anamorphic adds. Anamorphic isn't necessary for me to enjoy a film but I do appreciate when a production uses it. This is of course just my opinion and I'd love to hear what others here think. I'm guessing most of you on this forum will agree but perhaps you have a different take on it.

This Iscorama pre-36 now comes with the coveted Tokina achromat for $4499.00: http://www.ebay.com/itm/Iscorama-pre-36-anamorphic-Nikon-mount-Tokina-AT-X-840AF-72mm-04-achromat-/221397630307?pt=Camera_Lenses&hash=item338c53bd63

No offense intended Tony. Simply bringing attention to your recent post. What I have noticed is that since I started looking for mine (and bought it) about a year ago, I started seeing them popping up with some frequency and without enough of a price increase to indicate flipping. They weren't always easy to spot but they're out there. I just don't think that anything found in such small quantities is appearing that regularly on eBay...especially knowing that some of the members here own and are holding them. It would be interesting to have a better idea though. Let's take a poll. Out of curiosity...how many of you currently own a baby Hypergonar / Berthiot Cinemascope 8mm? Put me down for 1.

There's no way these are quite as rare as the legend claims. In fact Tony even mentions that he made up history on it here: >

Ask plenty of questions regarding condition before buying.

You've got some beautiful images there comurit. The dreamy quality of that lens when used so open is really nice. Please keep posting.

Here's a similar Iscorama listing that did sell for $4499.99 about a month and a half ago. I seem to remember another right around the same time fetching the same amount. http://www.ebay.com/itm/ISCO-Gottingen-Iscorama-50mm-F2-8-Nikon-F-Mount-lens-with-original-caps-EXC-/291063471628?pt=Camera_Lenses&hash=item43c4bc1e0c and here's yet another right around then that sold for a few hundred less but still over 4 grand. http://www.ebay.com/itm/Isco-Iscorama-Anamorphic-Lens-rare-pre-36-Nikon-F-Mount-/251429009412?pt=Camera_Lenses&hash=item3a8a563804 Of course condition plays a big part and these look to be excellent copies. Here's another one with serious coating issues that still sold for $2649.00 less than a month ago: http://www.ebay.com/itm/Isco-Gottingen-Iscorama-100mm-lens-/271403283491?pt=Camera_Lenses&hash=item3f30e57423 Like Tony keeps saying...it's hard to match the classic glass.

That custom follow focus from helicoptersean is nice in that it has nothing to get in the way of rotation but I believe the method for installing it calls for dipping the ring in hot water or using a hair dryer to soften the plastic so that it can be forced onto the lens making a snug fit. The thought of using moisture around my Iscorama gives me pause as well as hitting it with enough heat that could cause the grease to loosen and migrate onto my elements. Perhaps this work could be done away from the lens with no negative consequences but you should inquire as to the install before buying. Also, I wonder how removal would work. I've been in contact with him though and he seems like a great guy. It would certainly be nice to not have to worry about the ring connection hitting the rails.

I use the Redrock MicroLensGear size D with my Iscorama 54. It required a slightly longer screw than the one supplied, which I readily found in the hardware store in a packet of Hillman 1/8 x 3" toggle bolts. See links below. I find that a speed crank is the most effective way to use this setup since there is decent travel on the Iscorama. I also recommend a way to hold the 54 in place especially if your focus ring has any tension at all. Without the support you may get some unwanted lens movement when you rack focus. I use a lens support from Cavision that locks my lens down to my shoulder rig but it needs some filler (like dense cardboard) to build it up to fit the 54's mounting ring. Hope this helps. http://store.redrockmicro.com/Catalog/lensgears/microLensGearSizeD http://www.amazon.com/The-Hillman-Group-5024-Toggle/dp/B001003YFC http://store.redrockmicro.com/Catalog/DSLR-microFollowFocus/microSpeedCrank http://www.bhphotovideo.com/c/product/750371-REG/Cavision_R15_LS25100M_Lens_Support_with_Metal.html

Oh yeah...there's the exposure issue. Thanks for the reminder richg101.

Yeah, it's a fantastic lens and works on full frame to a point. You'll notice a bit of vignetting on your example and if you stop down past f4 on your 50mm it should progressively get worse and is likely unusable after 4-5.6 unless you crop. Wide open it tends to produce an image with a slightly lighter center and subtly darker edges, which can look really great for centered subjects. In very dark scenes you probably won't even notice the darkening edges as long as you keep pretty open. It works similarly on my 5D Mark III with a Canon 85mm f1.8 EF until about f13 where the vignette becomes harder. The 16mm version of the Bolex covers full frame nicely with my Nikon E Series 50mm f1.8.

I'd love to try it out....if anyone wants to lend me one. Oh, and I happen to adore the ergonomic design and small form factor of the Canon C300.

I think the rumor is incorrect.  Just keep looking.

I just read about the new SanDisk Extreme Pro CF cards available in 160 MB/s speeds and 256 GB storage size.  They are UDMA7.  I was wondering if anyone knows if they might enable higher frame rates with the Magic Lantern RAW recording on the 5D Mark III?  It would be amazing if they unlocked slow motion capability at a decent resolution.

Excuse me if I'm wrong, but I don't think a geiger counter would register anything from a follow focus.  I think what you would need is an R.F. or E.M.F. meter. 

The short looked good, until flare was introduced.  That killed it for me.  Too unusual and distracting for my taste.

I use the Cavision mount http://www.bhphotovideo.com/c/product/750371-REG/Cavision_R15_LS25100M_Lens_Support_with_Metal.html with my Iscorama 54  but I have a rear adapter ring replacement made by Redstan which changes the rear filter size and is slightly wider on the outside diameter.  I'm told he's out of them.  Even with that it requires a thin piece of cardboard (like those that come in packets of photo printer paper) to make a tight fit.  It's too roomy with the stock Iscorama 54 rear ring but could probably be built up with the right material.

     From what I have been reading, the reason many of the small theaters are closing is because with the rapid switch from film to digital projection, the theaters need to purchase expensive new projectors to keep up and the studios don't seem to be helping them.  I read about at least two small town theaters that were appealing to the local population to chip in to help purchase the $100,000 machinery needed to keep their doors open.  So let's not immediately assume that the theater closings we're seeing are due to low audience turnout...although that is likely a factor as well.         I'm currently in production on a micro budget feature entitled False Colors that I'm producing myself, and am learning as much as possible about distribution avenues as I will soon be in the same position as the big dogs...trying to get my movie in front of audiences.  I'm forced to be very economical as I produce what hopefully looks like a much bigger budget movie than it actually is.  I know that when I see big, expensive movies these days I often find myself checking out mentally during the extended, mind numbing chase scenes or action sequences.  I also check out when presented with characters that aren't grounded enough in reality.  That's my biggest problem with the continuing string of superhero movies.  I thought Iron Man 1 was watcheable but the sequel just lost me completely as two superheroes fought each other with no apparent real world rules applying.  Anything could happen and frankly, I didn't care if it did.  So when Iron Man 3 came out I opted to stay home.  So that sums it up for me....I place a premium on acting and story over special effects and lens flares.  Give me good story, great acting, decent cinematography and  I'm there.  Give me all these but great cinematography and I may even see it again.          And about DVD's being the lifeblood of the industry.... studios survived before VHS or Beta.  Once home video / DVD became a revenue stream they clearly got greedier and greedier or just had worse management until they had placed themselves in a position where they were largely dependent on DVD for survival.    The studios need to pull back and find better stories and tell them more economically.   Then they can still spend their $50 million advertising budget per picture colonizing our collective unconscious until we flock like lemmings to see the brilliance they have created.          If you're interested in taking a peek, here's the facebook page for my film: https://www.facebook.com/FalseColors And I would be interested in hearing from you.  Does this look like  a film you would want to see?  

I'm looking for the 16mm version of the Bolex Moller anamorphot adapter in very good to excellent condition if anyone is interested in selling.  Please let me know.  Thank you.

If Andrew's book can get me up and running shooting and processing RAW without having to spend countless hours researching, and I'm sure it will...then I think $20 is definitely reasonable. I'm buying mine now, and will be happy with the knowledge that I'll be supporting the guy that brings us this fantastic site.

Shoot Alan at RedStan an email.  He made a run of custom adapters for both the Bolex Moller 8mm and 16mm anamorphots and the last time I checked he still had stock of both.  They give the anamorphot a 52mm rear thread and allow for rotation to align your adapter.  They're a hundred dollars U.S. but it's worth not having to mess around.  They also lock the lens into position so it will not fall off when loosened for alignment.  Just be careful because when loosening the clamp as the anamorphot has a little play forward and back so it's possible that if you mounted it in position farthest from the lens, when you loosen it the adapter could slide towards the taking lens and touch the front element.  Unlikely but worth taking note of.  These are very well made!  And as a side note, the 8mm version also works with the baby Berthiot.