elgabogomez

I have a kowa 16s that I use on apsc with a 40mm taking lens, cropping to 2.4:1 there is no vignetting so your best bet will be a 60mm full frame equivalent. I think a 28mm without speedbooster is what qualifies

Hi Caleb, did the rangefinder added extra vignetting to your shooting? I remember Tito saying it created more on wide angle lenses but in your music video it doesn't appears so... Are you using the 72 or 77mm version?

What gave it away? I shot it slog3 and massage it in resolve with dread as we all know stories of ugly color and thought that it looked good and neutral... Also I was hand holding a kowa prominar in front of a 24mm lens and with the Sony zoom at 1.3 with minimal vignetting.

Obviously not a pro test, my newly born stars in this personal test, can you guess what camera was i using? Password: test

I have one with the same size and look of a 16h (around 50mm rear thread, around 70mm front diameter) that doesn't even says "16" it just says kowa prominar. The one you post seems like a 16d/16s.

So, what lens are you using? With oss and 24mm ff eq? Great first try by the way

Looks like ursa or blackmagic 4k 400 underexposed...

The fs100 is a great option for this, long battery life, small file size, iso usable to 8000, good detail (for a 1080 cam), you can buy it for around $1200.00us in very good shape. The sound is also good.

Hi Andrew Chan, when you said it works on the loxia 35mm, is it on super35 or full frame 35mm sensor?

I could be wrong but as i recall, the af100 had a base iso of 500 or so, and I used it at 1600 or 1200, and the footage was fine. The camera belonged to the film school I was in and was used for all academic events and cultural events of the city... Some of the footage went to local tv. The few times I used it, it didn't won me over and I liked the gh2 image better. I was giving Panasonic the same treatment as Sony to be less of a fan boy (the fs100 can easily be used at 8000 iso) and to make the point that for "events" I would use "video cameras" for its long battery and recording times, xlrs... That might be the Achilles heel of cheap mirror less cameras, the event recording, for everything else, they are my first choice for its adaptability, size, weight, lens options, etc.

My bad... As it always happens in forum fashion I was thinking in what I do. My point was that both cameras can do great. I would not use either as an event camera. The gh4 needs precision in exposure as it can (in my opinion) overexpose and burn highlights easily and I wouldn't go beyond iso 800 either, things that I need when in an event. The a6300 could mean losing the job altogether due to the overheating. As a second camera both would be fine or if it's not a paid job. For events an fs100 or an af100 are better. All of it my experience if it helps.

You can get an external battery and solve 2 of the deal breakers (overheating and battery life) the rolling shutter is admittedly bad, but also depends on the scene. And there are some post process options to minimize it. I have not used the a6300 but I've made a Cannes selected short with a gh4 and an award winning feature film on a nex5n and an a3000. The "professional" job you made depends more on you, the blocking, the lighting, the composition, working for your story. Shoot with whatever you can get your hands on and the director you work with likes.

Hi Andrew, thanks for the review. I have ample experience with the nex 5n and a5100/6000, and its heating issues. Would you say the a6300 has it worse than the 5n or about the same? I can flex my style of shooting for roughly the same overheating but definitely not more. It costed me a couple shoots and one or two interview pauses back in the 5n days.

There are several models of 2x anamorphics in sankor, kowa, Isco, shneider, lomo, etc. with different rear and front element diameters. And some were made for 35mm projection, 16mm projection or even 8mm... The rear element diameter is not really the tell sign that it won't work with a taking lens, Brian Caldwell and Tito Ferradans had an enlightening back and forward about it in another tread. What you want is to make the anamorphic lens go as close as possible to the taking lens (without touching the glass to avoid damage) to have "maximum angle of view" (i.e. Wider taking lens). Kowas 16mm are known to allow almost 50mm lenses in full frame cameras when cropped to 2.35:1. I have the smallest of the kowas (as far as I know) the 16s and it allows 40mm in apsc and 58mm in full frame. But for it to happen the kowa needs to almost be touching the glass in the taking lens. And it has a smaller than 43mm rear element.

And to clarify, if I'm shooting video, not still photos, where the 3:2 sensor of the Sony is a bigger read on the anamorphic and the vignetting more severe. Tito, your calculator is a great work, but as you say in the description, different sensors and crops in each particular camera and, more importantly, the anamorphic lens used can arrange for no vignetting on wider lenses... There are many 2x that would be impossible to do on a 5d iii what you did with a 50mm on one of your amazing reviews with a kowa b&h. It's a great tool but is no replacement for self experimentation :D

It all depends on the crop factor you want to get, I use a kowa 16s with a 50mm, even with a 40mm in a nex5n. The 50 shows slightly dark corners on a 2x 3.56:1 ratio and the 40 has a hard vignette. If I go to a 2.66:1 crop and below, neither shows the vignetting. I've seen sankors on Helios, minoltas and canon fl's 58 without vignetting at 2.66:1 as well but to play it safe, get/borrow an 85mm and go from there.

This always works for me (at least on handhold jobs) http://www.ebay.com/itm/Neewer-L-Shape-Bracket-Holder-for-Flash-Light-Camera-Mini-DV-Camcorder-with-Hot-/331565502643?hash=item4d32d810b3:g:TQMAAOSweW5VY6gk

Lucy (the Luc Besson movie) was shot on f65 and looks beautiful. It's obviously not oscar material, nor as good as other Besson movies, but its looks are as mesmerizing as its lead actress. For all its accolades and prestige, Birdman is not as beautiful looking, due to the way it is shot. Don't get me wrong, the cinematography is superb and worthy of study in a film school but it has a lot of post image stabilization and loss of resolution due to constant movement and it is lit in a "not pretty, available light" way... It goes to show that the function of the DP is not to make pretty pictures but to engage the audience in the story trough moving images.

I made a comment in your thread in the sony community forum, so at least is two of us now in their radar, if sony were to make clean hdmi out in M mode i think all would be solved (and it would give it something kinda like the 4:3 4k mode in the gh4... In the a5100 it would be 3:2 but it would still help in anamorphic capture as it would show more horizontal info from the lens, win, win.

It happened to me on a short shoot. With fd lenses, recording internally, i think i placed the kit lens on it and disable all focus aids, all auto focus and face recognition, and it went away. The face/smile recognition and the smooth skin effect were off when it happened. i turned everything on, then off again to make it dissapear.

This is what i do in resolve: i set the timeline to 2880x1080 for 2.66:1, i set it to 2560x1080 for 2.35:1. The tricky part is, i set the footage to stretch to match the timeline and then i apply an horizontal zoom from 1.33 to 1.5 depending on distance to subject/place on composition on a clip by clip basis (it can be more stretched on the sides so you decide).

A couple of things are preventing me to go with the Redstan clamp, first is sadly Price, i live in Mexico and the pounds to pesos convertion is making it expensive (100 dollars to pesos is 1650.00, 100 pounds to pesos is 2600.00). Second is the time it will take from UK to California (i live at walking distance to San Diego, Ca) and third, judging from the pictures at Redstan, it looks like the adapter doesn't go flat with the end of the kowa at the taking lens connection, it seems to be a few mm recessed so it will vignette a bit more when on a wider lens. Any users of a kowa 16s and a redstan clamp that can assure me that it is really worth it??

This is a Little off topic, but i am curious as to what recorder are you using, if you record in 24, 25, 30 or 60 frames. I have an a5100 and whenever i use an external monitor, it shows a 60hz signal (i or p, depending on if i select 1080i or 1080p), so are you using pulldown in the recorder or just recording the 60 or 50hz signal?

I see 3 options on eBay that may work on a kowa 16s, a rápido technology adapter (wich requires 3 or 4 pieces from their website), a vid atlantic clamp that is "universal" for small anamorphic adapters (kowa, sankor, sun, etc.) or a Raf camera adapter for the kowa 16h... The kowa 16h is different from the 16s, but as far as the backend of the 16s, it appears that 52mm is the diameter so it should work with the raf camera adapter. What option would you buy? rápido tech, vid atlantic or raf camera??

Don't Get me wrong, i almost can't believe they were shooting with these wide open at t1.5, and in that aspect they are certainly pro lenses ready for a feature film. I just think they don't convey the same image of an anamorphic movie that I have in my head, meaning "the graduate" or "close encounters" or "alien" or "blade runner", even "the devil's advocate" with its deformed hexagonal or octagonal shaped bokeh have. It is just MY opinion, and if I were to shoot a Hollywood feature, I certainly use these mini hawks, knowing the whole project would look safe for a mainstream blockbuster, however if I were called to do an Indy feature, I would try renting a set of kowas or even gamble on the slr magics with pleasure... That's how I see it.