dhessel

Camera specific factors that will get you a film look, in my opinion, are... 1. Shooting 24P with a 180 degree shutter angle. 2. A camera with a super 35mm or larger size sensor. 3. A camera that shoots raw to avoid digital compression artifacts and loss of grain plus the ability to grade the footage. 4. Internal color math that is closer to natural film response if not shooting raw. On a related note sensors on a digital camera have a different response to colors in comparison to traditional film some are probably closer than others. I personally feel that while using a film emulation LUT to get the colors into a more film like response can be a good starting point to getting more film like colors when used carefully and sparingly. Then of course a proper color grading from there. These are the easy ones, the rest is up to the talent of the camera operator.

You must us a card that is 32 GB or less to do the initial install of ML anything larger won't work. Once the firmware is updated you may use any size card you like. "For first install, use a simple SD/SDHC/CF card (32 GB or smaller). 64GB cards and larger will not work for first install (but you can use them with ML, see below)." http://www.magiclantern.fm/install.html

There is a little something new though looks like A1ex has found a way to squeeze another 0.5 stops out of the sensor on the 5D3, for photos only 0.1 stops for video. http://www.magiclantern.fm/forum/index.php?topic=10111.0

The front ring on the 54 comes off just like the 36. I had to open up a 54 I got for about half the price that they usually go for due to a stuck focus ring and fungus spots. I was able to do a CLA and now it works great. The 54 is a much sturdier design that the 36 and the stopper is a large thick solid metal tab on the focus ring that contacts another large metal tab on the body. It is not like the 36 with a small plastic stopper that can be sanded down. While it may still be possible to modify the 54 it would not be easy and definitely is not something I would want to try to do.

It is with any resolution raw supports, I don't think it works with fps override though.

It does there is a menu label bug that will get fixed eventually that makes things confusing. In mlv raw menu there is an entry to disable global draw set to off by default this should be turn to on. This menu should be called global draw, hence the confusion. I used digic focus peaking and magic zoom all the time now while shooting raw and get really good speeds even with audio.

Never used one but looking it over it probably won't be as great as you might think at first glance. This drive has 1 GB of ram built in and that is what allows it to reach such great speeds, if you copy a 500 MB file it will go right into ram which is super fast then the drive will transfer the data to disc at normal write speeds. What this means is it will be super fast for working with files that are in total less than 1 GB but will be on par with normal hard drives once you go over that limit, which for prores will happen pretty quick. In the end you with this drive you will still be better off working with offline proxies instead.

Thanks but way to expensive. I appreciate it though.

Image quality on the 5D3 is very good, I don't think you would have any issues at all with it. I would think that the shallower depth of field from a full frame sensor would be more the issue than quality in any way.

Diopters only effect focus distance and will have little/no effect on focal length.

I am trying to track down a 95mm diopter with no luck so far. If any one comes across one I would appreciate if you can let me know. Thanks.

What focal lengths did you try, I also have a 5D and with a Kowa 16-H I had a distortion at 58mm but very little at 85mm. I also have shot 85mm on a Iscorama 54 and have not noticed much distortion yet. I just got it though and haven't used it that much yet.

What are you using for a taking lens? I believe that it is common to see this distortion when using wide angle lenses with anamorphics I have seen it on a couple my self with my Helios 44 on panning shots. I serviced a few different anamorphics and I can tell you that the slightest misalignment in the anamorphic elements will result in a blurry image, especially wide open. If the image is sharp then there is probably nothing wrong with the lens.

Anyone know of a M39 to EOS adapted that allows for infinity focus? My last two purchase attempts did work. I have a MKII and have remove the infinity focus pin on the Helios which helped but didn't get it all the way there. Thanks.

It should be the roughly the focal length of the taking lens divided by the stretch factor of the anamorphic. An anamorphic lens doesn't have a focal length unless it has a built in taking lens so I have no Idea how you can have a 85mm lens attached to a 70mm anamorphic.

Combine first, then rename.

First, as already stated, make sure that the anamorphic lens is aligned correctly with the camera/lens and make sure that it doesn't rotate for any reason(rotating front lens element for example). Second make sure you are de-squeezing with the proper ratio for your anamorphic, 1.33, 1.5 or 2.0. If have been done and you still notice distortion it can be 1 of 2 things. 1. Anamorphics can have extreme barrel like distortion at wide focal lengths on the edges that may have to be corrected for by removing some lens distortion. I mostly notice this in panning shots. 2. Determine the effective squeeze factor of your anamorphic. When I first started I had a giant projection lens with a 2x squeeze. Due to mounting with clamps and stepping rings it ended up having only a 1.8X stretch. The easiest way to determine the stretch factor is to take a photo perpendicular to a circular object, I used a CD. Take that image into a photo editing app and measure the width and height of the circle, which will be an oval due to the squeeze. Now you can take the height and divide it by the width to get the actual stretch factor and use that instead. stretch = height/width

Looks to me like the anamorphic is rotating for some reason.

First get a 1000x card, just because a card says it is 90 MB/s second that doesn't mean that it is for writing and that you will get anywhere near that speed. Only a 1000x card will allow you to max out the write speed on the 5D, as far as I have seen. I have notices most cards record raw at around half of their advertised speed.   Next check out the first topic here, this is for a special ML build just for the 5D2. It is the same as the official builds with a few extra features. Download the latest build from the link at the top and the alpha_one build near the bottom. Read the pdf and then copy the contents of alpha_one to the card, next copy and replace any files already on the card with the ones from the latest build.   http://www.magiclantern.fm/forum/index.php?topic=5533.0   you will also want to check out the users guide for installing and using ML in general. You will want to familiarize yourself with ML before jumping into raw. There are lots of useful features which are good to learn about anyway.   Once ML is installed go to the modules menu, it now looks like 4 squares and is near the left side of the ML menu. Enable raw_rec and file_man.   You could use mlv_rec which records to the new ML video format MLV. This format has more features but is slower to write so is more useful if you have a 5D3, the 5D2 cannot do full HD continuous as it is so the performance loss is not worth it at this point. The 5D2 has a max write rate of around 75 MB/s were the 5D3 is getting closer to 110 MB/s with card spanning.   Turn of and on the camera, then go to the ML menu video tab and enable raw video, enter the raw video sub menu and choose your aspect ratio and horizontal width. Once done the menu will display the approximate write speed needed for continuous recording.    With the live view on you will now have a white rectangle showing you the area that will be recorded. Now you can simply press the record button as normal and recording will begin. The display will tell you your recording data rate and how many frames you can expect to get before stopping/skipping frames. Stop as normal or the recording may stop if the camera's buffer fills up. At this point there is no way of knowing how much memory you have left while recording, the raw recording will start freaking out if you run out of memory. This can corrupt recordings to which there are some fixes for. So far I have not had any corrupt recordings from running out of memory in the last few builds.   Once done you can preview the last clip using the playback option in the raw video sub menu, you can also go to the debug tab and use the file manager to delete/review your raw files. You will need a external card reader to transfer the raw files over to the computer, using the camera with a usb will not work.    If any of your recordings were larger than 4GB then the recording gets split into multiple files. This will show like .RAW, .R00, .R01, etc... These files need to be merged together before the can be process further, again look to the link posted above.   Once the raw files are ready you can use the raw2dng to extract a sequence of dng's from each raw file. This can be done using the cmd/terminal or using some of the GUI programs listed in the raw post processing forum. I cannot be much help with those since I just use a custom python script I wrote.   Once done the dng's can be edited using adobe software and with resolve. As of  resolve version 10 you can bring in the dng's directly and these can be regular dng's now. They no longer need to be cDng's converted with the raw2cdng converter. That is really nice because there are still quite a few issues with the raw2cdng app. Also adobe premiere has added native dng support but I hear is got issues. Dng's work great is after effects as well.    Lastly spend some time and read over the forum there is a ton of info in there and you don't want to be another noob that jumps in there requesting a feature or asking a question that has been asked and answered many times before. This seems like a daily occurrence and the users over there are getting tired of it.    Good luck.

Got it, thanks for the info.

I was wondering what a fair price for one of these would be, used in good condition? Thanks.

Also I may be biased I would definitely recommend the Kowa 16H or 8Z for you and your shooting style. The lens posted above may be worth the risk, if the dots don't show its more than half the price they normally are. The Kowa is fairly small and not too heavy, smaller than my canon 24-105mm. I do not use a railing system at this point I just screw it into the front filter thread. It is sharp, a cinemascope lens, has nice flares that are not too extreme, short focus distance of 4.5 feet, and it can go as low as 75mm on a full frame without vignetting or all the way down to 58mm wide open with correctable vignette if you choose. Here is the Kowa attached to my massive helios 40. Most other adapters require much longer focal lengths the sankor for example requires 135mm if I remember correctly. On a side note, if you have not installed magic lantern on your 5D3 I would absolutely recommend it is well even if you don't want to shoot raw video. The focus peaking and magic zoom are awesome and I use them all the time, even for stills.

The 2x producing a 3.66 aspect is very wide as you have stated, personally I was surprised that this super wide aspect didn't bother me as much as I thought it would. Interestingly once you go past 2.35 wider aspects become less and less noticeable. That said I always crop my videos to at most a 2.66 aspect when I am not shooting raw. For me the 2x squeeze factor is worth having because you will have more of anamorphic character in your footage compared to a 1.33x squeeze. There are some adapters that have 1.33x squeeze and these produce images with a 2.35 aspect but having to crop is a good thing. Regardless which adapter you choose you will have to post process the footage to un-squeeze it having extra width gives you some flexibility to re-frame your shots. This can be quite handy depending on how you are monitoring your shots. Unless you have the budget you are going to find that dual focus is something you are going to have to live with. Your shots don't have to be locked down, hand held is fine as long as you can maintain the same distance from the subject. A while back I did a shoot of my kid in a play class all hand held with lots of movement. I shot at f2 and was kicking myself thinking that most of the footage was going to be out of focus. So much so that I didn't even bother to look at it for a month or two. Recently I decided to check it out and see what I could salvage and the vast majority of it was good. Anamorphics are restricting and extra work but you don't have to be completely locked down either. Of course things get more and more forgiving as you stop down. I have only been using my anamorphic for a few months so I am by no means an expert. I still need a lot of practice and make mistakes from time to time. Not properly aligning the adapter and getting slanted footage for example. I have found that once you get used to not being able pull focus and have adapted your shooting style accordingly that it is not all that different.

  That is true if shooting wide open but not stopped down. M17-1640 above was shot wide open and M17-1736 (2) was shot stopped down with a helios 44-2. There a fair amount of vignetting even with being shot at 1472 x 1250, its not even using the full frame of the sensor only 75% of is width. It is using the full height though.

I agree with that statement for the most part. The only time it was difficult for me was when I was trying to focus on an object about 5 feet away at f1.5. It just took a little time to fine tune both to nail the focus. If either one was a little off the focus gets soft.   Sometimes I wish I had a rig where I could quickly move the Kowa out of the way, focus the prime, then move the Kowa back and focus it. Once the prime is properly focused it is quick to focus the Kowa.