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As it's almost Halloween I thought it would be fun to start a thread for everyone to share their own horror short films. Mine is a a three-chapter Lovecraftian miniseries titled "The Crawler in the Dark". The story is about two scholars who discover an ancient artifact with which they can psychically explore across space and time, but leaves them unwittingly exposed to a malevolent psychic traveller: Chapter 1: Eplilogue http://www.youtube.com/watch?v=5cOycfQFZPM Chapter 2: Old Friends http://www.youtube.com/watch?v=OBtZBIV_o7s Chapter 3: The Traveler http://www.youtube.com/watch?v=SeuQpYDs5JI And here is a film I shot last year, but recently re-released in it's original 4K resolution. Titled "No Face", it's about a supernatural entity lurking inside a survival horror video game. http://www.youtube.com/watch?v=_aJLKKjUYUc Both films were shot mostly at YouTube Space Tokyo during their Jidaigeki (period film) and House of Horrors limited programs for local YouTube creators. Most of "No Face" with the GH4 and SLR Magic 10mm Cine bolted to a custom helmet rig, and "The Crawler in the Dark" was shot anamorphic using the GH4 with the SLR Magic 1.33x Anamorphot adapter and Sigma 18-35. I hope you enjoy my horror films, and share yours as well!

Hello my friends, Here is my first hand's on with the SLR Magic 10mm T2.1 I just received on wednesday in premiere, and also with their new variable ND filter :) SLR Magic 10mm T2.1 on GH4 4K and 96fps 1080p mode My very first impressions : solid, heavy (420g), compact, sharp at full aperture T2.1, only 8.5cm minimum focus distance. The ND filter : good first impressions, and two great options on it : lever and hard stop ! Perfect for video ! SLR MAGIC 10mm T2.1 (f1.8 eq.), most of the clips @ T2.1 SLR Magic ND variable filter GH4 4K cinema mode + 96fps 1080p mode Vcine mode with Andrew Reid presets (http://www.eoshd.com) No color correction Music : Trentemøller « Come Undone (Trentemøller Remix) »

Noktor asked me to test out their new SLR Magic Hyperprime 10mm T2.1 for MFT. Thought some people might interested to see footage, as lately most MFT tests are done on the GH4. Here's the video: It's a pretty good wide angle option for the non-Speedbooster folk. Thanks for watching!

Testing out the new Metabones Speedbooster Canon EF -> m43. Really loving it, and working with Sigma ART lenses it just sings! I really want that shallow depth of field look, and it works a treat. Of course it's really hard to focus at F1, worse using a vari-ND filter too (vignette and darkening of the corners at the highest setting). Paired with the SLR Magic Anamorphot it has a great look!

I’ve been asked to do a movie with longer clips, no digital zoom effect, movement, no indian ;) … Here it is ;)
 
My impressions ont the lens : solid, heavy (420g), compact, sharp at full aperture T2.1, only 8.5cm minimum focus distance.
The ND filter : good first impressions, and two great options on it : lever and hard stop ! Perfect for video ! A sunday afternoon in the parc Majolan (SLR Magic 10mm T2.1 on GH4 4K) SLR Magic 10mm T2.1 on GH4 4K and 96fps 1080p mode This is my second movie with the upcoming SLR Magic 10mm T2.1(eq. f1.8), and their upcoming variable ND filter ! (released in october 2014) 1st movie is here : SLR MAGIC 10mm T2.1 (f1.8 eq.), shot between T2.1 and T5.6
SLR Magic ND variable filter GH4 4K cinema mode + 96fps 1080p mode
EOSHD cineV settings +0, -5, -5, -2, +2 (eoshd.com) but pedestal on 0 No color correction Music : Robert Wyatt « Sea Song »

Hi everyone, I've just received today the upcoming SLR Magic 10mm T2.1(eq. f1.8), and their upcoming variable ND filter ! My very firsts impressions : solid, heavy, compact, sharp at full aperture T2.1, only 2cm minimum focus distance. The ND filter : good first impressions, and two great options on it : lever and hard stop ! Here are some pictures of the lens and of the variable ND filter, photo stills and video stills from GH4 C4K footages (most of them @ T2.1). THE COMPLETE SET OF PICTURES IS HERE : https://www.flickr.com/photos/43243778@N04/sets/72157646791136410/ Movie is coming soon :) TECHNICAL INFOS PRESS RELEASE at the end of this post Thanks for your interest THE LENS : SLR Magic 10mm T2.1 by sebfarges, on Flickr SLR Magic 10mm T2.1 by sebfarges, on Flickr SLR Magic ND variable filter by sebfarges, on Flickr SLR Magic 10mm T2.1 + SLR Magic ND variable filter by sebfarges, on Flickr PHOTO STILLS with GH4 SLR Magic 10mm T2.1 photo still by sebfarges, on Flickr SLR Magic 10mm T2.1 photo still by sebfarges, on Flickr 4K VIDEO STILLS from GH4 SLR Magic 10mm T2.1 4K video still by sebfarges, on Flickr SLR Magic 10mm T2.1 4K video still by sebfarges, on Flickr SLR Magic 10mm T2.1 4K video still by sebfarges, on Flickr TECHNICAL INFOS PRESS RELEASE : NEW: THE SLR Magic HyperPrime CINE 10mm T2.1 and SLR Magic 77 ND 0.4-ND 1.8 filter SLR Magic expands its micro four thirds lineup with new wide angle lens Hong Kong, China (September 3, 2014) - SLR Magic expands the micro four thirds lens lineup with the new SLR Magic HyperPrime CINE 10mm T2.1 wide angle lens. With this latest addition, the portfolio of lenses for the micro four thirds system is now comprised of thirteen focal lengths. The product will be officially introduced during upcoming Photokina 2014 fair in Cologne. The field of view of this new HyperPrime Lens corresponds to a 20mm lens in 35mm format and this fast wide angle of view opens up many new creative composition opportunities, particularly in the fields of interior, architectural and landscape cinematography and photography. Additionally, a fast max aperture of T2.1 makes the SLR Magic HyperPrime CINE 10mm T2.1 ideal for available-light photography. We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the SLR Magic HyperPrime CINE 10mm T2.1 is solid and reliable. The SLR Magic 77 ND 0.4-ND 1.8 filter is a solid variable neutral density filter providing a reduction of about 1.3 to 6 stops. The 0.4 to 1.8 density creates a darkening of the entire image, allowing you to photograph with a wider aperture or slower shutter speed than normally required. The degree of density is easily controlled by rotating the front filter ring via the non-removable lever. By slowing your exposure time you are able to control depth of field and convey movement more easily. Both filter substrates are combined into one filter ring, this filter is low profile and helps to eliminate vignetting on most lenses. The front filter ring diameter is 86mm in diameter, further helping to reduce vignetting, on wide angles lenses such as the SLR Magic HyperPrime CINE 10mm T2.1 lens. The SLR Magic HyperPrime CINE 10mm T2.1 (MSRP: $799 US) and SLR Magic 77 ND 0.4-ND 1.8 filter (MSRP: $179 US) will be available from authorized SLR Magic dealers starting end of October 2014. The SLR Magic HyperPrime CINE 10mm T2.1 will be first presented at Photokina 2014 fair. The SLR Magic stand would be in (No. L-011, Hall 5.1) during the fairs which are to be held in Cologne from 16th to 21st of September 2014. For all those who want to visit Photokina 2014 fairs. SLR Magic is currently looking for volunteers to test this lens at a special price. If interested: Send an email to support@slrmagic.com with the subject "SLR Magic 10mm T2.1 volunteer". Include sample videos/photos or link to photo/video reviews you have done in the past. Technical Data SLR Magic HyperPrime CINE 10mm T2.1 Lens Type: Fast wide-angle lens Compatible Cameras: All micro four thirds mount cameras Optical Design: 13 elements in 11 groups Distance Settings: Distance range: 0.20m to ∞, combined scale meter/feet Aperture: Manually controlled diaphragm, 11 aperture blades , Lowest value 16 Bayonet: micro four thirds Filter Mount: Internal thread for 77mm filter; filter mount does not rotate. Surface Finish: Black anodized Dimensions: Length to bayonet mount: approx. 79.45mm (approx. 3.12in) Largest diameter: approx. 80.00mm (approx. 3.14in) Weight: approx. 420g (approx. 14.8oz) SLR Magic 77 ND 0.4-ND 1.8 Type: Variable density Size: 77 mm Filter Factor: 0.4 - 1.8 (1.3 - 6 stops) Front Filter Thread Size: 86mm

Hi guys! I'm an anamorphic newbie and just bought the SLR Magic Anamorphot. I'm planning on using it with my BMCC, BMPCC and also for timelapse shooting with my Canon 5D Mark II. I would like to know the details on how to stretch images and setup the correct aspect/pixel ratio on AE CS6. My normal workflow for timelapse editing is as follows: Shoot RAW images with Canon 5DII Deflicker on LRTimelapse Color correct on Adobe Camera RAW Import to Adobe After Effects CS6 to reframe, pan, zoom Export Pro Res HQ 1920x1080 Edit on FCP7 I would like to take full advantage of the 5D full frame and stills aspect ratio and output 2.5k and Full HD (horizontally) footage. I will probably edit the timelapses directly on Adobe After Effects. Thanks in advance for your help!

Hi everybody, I am new to this great community, I have read the anamorphic guide , read about the different kinds of anamorphics lenses and adapters, I already have an EIKI 16C 2X to play with...it is ok but 2x seems to be too much for my liking, I know I can crop but I don't want to do that... I have a GH3 with speedbooster, sigma 18-35 f1.8 (Nikon mount) some nikkor manual lenses 50mm 135mm, helios 44-2 58mm, 35mm pentax manual lenses, and some native m43 lenses. I do not do any professional work, ....I know iscoramas and lomo square front are the best but out of my league, too expensive, all my search ended in two adapters: 1) the brand new slr magic anamorphot 1.33x + diopters $1,100.00 pros: brand new, sharp, flares ok, focus trough it? cons: too clinic for some people, resale value? 2) used bolex anamorphot 8/16/1.5x....$700~$1000 pros: great organic look (film look), resale value, close focus without diopters. cons: used, dual focus, I have never played with any of this two, that's why I am here asking for help to all of you who have/had this adapters.. what would you suggest? thank you in advance for your time and knowledge

https://vimeo.com/73514319   I've just had for few days the prototype of the upcoming SLR Magic 17mm T1.6 lens in micro 4/3 mount. This lens reminds me the one from Voigtlander the 17mm f0.95 I test once (vimeo.com/43570385). Despite it's a T1.6, the SLR is a very fast lens, and I had to use strong ND filter on it to be able to use it at it's fastest speed at 1/50 shutter speed. This lens is a prototype so I can't show it, but this model looks quite like the 25mm T0.95 from SLR. It has also a no click aperture ring. Most of the shot of the movie are taken at T1.6, and you can see the very good sharpness of the lens, even at its fastest aperture.   SLR Magic told me that : "this is a SLR Magic CINE designation lens and not a HyperPrime lens so it is made for the budget indie filmmaker. It is in the same series as our 35mm T1.4 CINE II lens. Price of the production 17mm T1.6 lens is TBA (to be announced). The SLR Magic CINE 17mm T1.6 will have the same mechanical build as our 35mm T1.4 CINE II lens that repeatable focus. The 35mm T1.4 CINE II lens will be compatible with our upcoming 1.33x Anamorphic adapter but the 17mm T1.6 will not be on the compatible list. Field curvature effects causing softness at extreme when focusing at close focus distance were put into consideration during lens design and edge sharpness should be quite sharp even when wide open. Light falloff during wide open aperture is well controlled."   I have use the OMD E-M5 from Olympus. I've bought recently this camera because I was really impressed by the movie of Andrew Reid, where we can see the proficient internal 5 axis stabilization system.  It was quite hard for me to use this new camera. Two main problems have appeared : 1- I found that the contrast in classic image mode are very strong, the black are too black to my opinion (I've used the Natural mode). Then I decided to change the mode and I've used the Art filter 3 (ton neutre et lumineux, I suppose in english it's "neutral and bright tone") to have less strong blacks. But this mode gives green rendering (and the ND add it too), so I try to color corrected it. That's why you have two mode in this movie, the Art filter 3 is in the countryside and seaside shots. I did light color correction in quite all the clips. 2- The second problem is the using of ND filter on OMD with the stabilization. At the begining of my shooting I was using a variable ND filter from Cokin. The problem is that there is slight vigneting when you are closing it. And this vigneting is moving because of the stabilization. You can see this issue in some of the shot, the traveling with the girl with the yellow bag, for example.Then I decided to use another ND filter, not a variable, the Hoya NDX400. With a constant ND filter, the problem of the "moving vigneting" disappear. But it's less easy to use. Especially with the OMD that has less efficient dynamic range than the GH3. Anyway despite this problems I have discover with my first use of the OMD camera, I'm really impressed by its internal stabilization sytem, for example it allowed me to do these shot from the car in the small roads of north Ireland, with a third part lens such as this SLR Magic 17mm T1.6.  I'm really happy using this lens, it is a good experience and it's useful to have a fast 17mm, especially when you think that 25mm is not enough wide, and 12mm too wide.   Olympus OMD E-M5 SLR Magic 17mm T1.6 (prototype) 1080P 30 "Natural" and "Art 3 bright and neutral" modes Variable Cokin ND filter NDX400 ND filter from Hoya edited on Adobe Premiere CS6 CC on Premiere   Music (mash up) : Midlake "The Courage Of The Other" King Crimson "In The Court Of The Crimson King"

Honoring My Father is the story behind Keith Kadoyama attending the Lantern Floating Ceremony every year. The Lantern Floating Ceremony honors our loved ones who have passed away. Keith honors his father Mitsuo Kadoyama, and he tells his story. Thanks to my good friend Keith for doing this. I conceived of the idea when I saw the announcement just 2 days before, and I'm glad he was up for the challenge. I shot all of this myself, so it was a lot of hard work! Shot on a Panasonic GH4, 4K with Panasonic LUMIX 12-35mm X lens and SLR Magic Anamorphot and Tiffen Vari-ND Filter GH4 shot with CinelikeD Contrast -2, Sharpness -5, Noise Reduction -5, Saturation 0, Hue 0 Master Pedestal +15, Highlight -4, Shadow +3, 0-255 F2.8, 1/50 sec, ISO 200 w Vari-ND, ISO 800 without Interview Audio: Rode NTG-2 shotgun mic with Rode Blimp on a Tascam DR-60D Music by Escape Club - "I'll Be There"

Hey guys,   Made up my mind to sell some of my gear. PM me if interested in any of the following.   Kowa 16H 2X anamorphic adapter - good condition Canon FD 20mm f2.8, 35mm f2, 50mm f1.4, 85mm f1.2 lenses - all in good condition Canon FD to MFT adapter - new Slr Magic 12mm f1.6 - new Slr Magic 25mm f0.95 - new Voigtlander 17.5mm f0.95 - new   Thanks!

Finally finished my short film project "Separate Flow". Waiting for the right anamorphic and I think the SLR Magic Anamorphot was it. Very practical to use on location, it worked really well for this project. Debated long and hard on using either the GH3 or 5DmkIII RAW. In the end I went with shooting RAW even though I had a lot of problems, including the camera shutting down at one point. But it's the flexibility of RAW in post that won out in the end. In the future I will use AF with the GH3/4 since it's more usable, especially when using a steadicam.

Got my SLR Magic Anamorphot set yesterday and ran out the door to get some video. I really like the new SLR Magic Anamorphot. Great solid metal build and heft. Easy to adapt, with threads on the front for diopters. I shot this comparison with the Panasonic LA7200. I wish I had a proper wide like the Panasonic 20mm, but I'll get one soon enough. The widest for the SLR Magic Anamorphot is 20mm MFT, but the Panasonic is 14mm. That is the only real advantage of the LA7200, the wide shots. Otherwise the SLR Magic is just worlds better in terms of usability, size, and the ability to use diopters and ND filters.

Hi everybody and anamorphic lovers ! Here is my 1st movie with the upcoming SLR Magic anamorphot 1.33X - 50 anamorphic lens on OM-D & Sony A7 !!! :) It's now since one week that I own the upcoming new anamorphic lens from SLR Magic, the anamorphot 1.33X - 50. It's a compact and light 1.33X anamorphic lens, working from 40mm on full frame and 20mm on M43 systems. It has the particularity of having a focus ring for close focus, it's very convenient because you can use it without diopters. Another difference seems to be the usuability of shooting at fast apertures. I even did a fast test at T0.95 on the SLR Magic 25mm and the image was still usable ! More tests to come. I've used two cameras with two different lenses on this movie. First the OM-D OM-5 from Olympus. Despite it's not so good video codec, this camera has what the other cameras don't have (yet) : an incredible 5 axis stabilization system. The addition of the Lumix 20mm with the SLR Magic anamorphot on the OM-D make quite the perfect combo. The problem that I still have with the love-able OM-D is finding the best image mode. I'm usually using the "Art3" mode Pale&Light Color (like in this movie), or sometimes "Art4" mode Light tone mode. Second the new Sony A7, the first full frame hybrid camera. For me this camera is very lovable too. For the first time it's offering the same flexibility than M43 systems : putting thousand third part lenses (such as Nikon, Canon, Pentax, Contax, Leica, M39, M42, Cine lenses, and so on....). And enjoy those lenses in full frame. The 50$ Nikon 50mm f1.8 is a cheap and very good pancake lens. I've put on the Sony A7 with a Novoflex E to Nikon mount adapter. The result with the SLR Anamorphot is very good too, and there is less distortion on the edges than the Lumix 20mm on the OM-D. It's real obvious when you watch the difference on the flares from the two lenses. Using the diopters on the SLR Magic anamorphot improve the sharpness of the image. The 0.33X achromatic diopter from SLR Magic seems good and offer more sharpness, but it is not indispensable for close focus, because of the close up focus ring of the lens. The 1.3X gives the possibility to film closer to the subject, and the 3X I'm using too... The three diopters of the movie are reavealing tremendous flares, as you can see at the end of the "Crêpes scene". Thank you for watching ! Any comment are welcome ! :) SLR Magic anamorphot 1.33X - 50 anamorphic lens SLR Magic 0.33X and 1.3X achromatics diopters Marumi 3X achromatic diopter on Sony A7 with Nikon 50mm f1.8 E Serie and Olympus OM-D O-M5 with Lumix 20mm f1.7 pancake lens 1080 24P on the Sony 1080 30P on the Olympus from 200 ISO (most of the time), 800 ISO (kitchen scene) to 2000 ISO (couch scene) Apertures from f1.7 to f5.6, most of the shot taken at f2.8 Light Craft mark II variable ND filter Music : Trentemøller "Candy Tongue (Feat. Marie Fisker)" from Lost

It's Chinese New Years! Got my SLR Magic Anamorphot just in time to get all the celebrations: Food, festivals, and Lion Dances! I walked around getting footage with my Canon 5D mkIII using Magic Lantern's RAW Hack. The SLR Magic Anamorphot is very sharp and it is easy to use. There is slight vignette on the footage because my Vari-ND fader is 72mm, the front of the SLR Magic Anamorphot is 77mm. I'll have to get a new one at 77mm to solve this. Most shots were at F2.8 on a cloudy day, F4 for the Jupiter 9. Details: SLR Magic Anamorphot Canon 5D mkIII w Magic Lantern RAW Hack Canon EF 50mm 1.8 (majority of shots) Helios 58mm (near end) Jupiter 9 85mm (near end) Lightcraft Vari-ND Fader

The taking lens was the SLR Magic 35mm T1.4 Cine Mark II for both of these, used at F2.8, the camera was a GH3. A live acoustic video, on this one I've intentionally gone for a look with flares: Some night street footage, at F2.8 it's a bit tricky when there's not much street lighting, I may well re-edit this video, maybe to include more footage.

I've just received the final version of the SLR Magic 17mm T1.6 ! FULL RESOLUTION ON MY FLICK'R http://flic.kr/s/aHsjP5jhLd Here is a sample at full aperture on OM-D E-M5 :) (first in small version, second in full)

Hi all,   I'm shooting a camera test for my upcoming short on a GH2, and I wanted to test with an SLR Magic 12mm T 1.6 Hyperprime, because of all the great reviews, and example footage I saw.  My test is during the day so I took notice of all the warnings to get a large ND filter to avoid vignetting.  I bought a Fader MkII Variable ND filter at a 77mm size, and then bought a 58/77mm step up ring for the SLR Magic Hyper Prime.   To my dismay, when I received the lens from my mail order lens rental place, without any filter and just shooting on the GH2, I saw some very undesirable distortion on the corners.  I sometimes like imperfections in classic glass, like my Canon FD primes, but this distortion I was seeing on the SLR Magic lenses was pretty unacceptable.  Also...I like flaring, but it seemed this lens in particular has some serious flaring "issues". Next I put my ND filter setup on the camera, and regardless of my larger ND Fader, I experienced pretty bad vignetting. Here's where my question comes.  I'm looking to get the equivelant of a 24mm focal length on my GH2.  The 12mm seems like the likely candidate, but I'm wondering a.  Do I have an damaged or defective lens, or b.  Is this the nature of the lens. If that is the case...does anyone have a good alternative to the Nokton SLR Magic 12mm?  I know the 12mm Olympus is talked about a lot and I also see a fair share of folks talking about the Tokina 11-16 zoom.   I may be running out of time, and may have to shoot on my Canon 5dmkII for this test, but ideally I really wanted to use my GH2, since I specifically bought it for video since I'm not a fan of the Canon look on video.   Any of your advice would be greatly appreciated.  Thanks!!!

https://vimeo.com/73514319   I've just had for few days the prototype of the upcoming SLR Magic 17mm T1.6 lens in micro 4/3 mount. This lens reminds me the one from Voigtlander the 17mm f0.95 I test once (vimeo.com/43570385)   Despite it's a T1.6, the SLR is a very fast lens, and I had to use strong ND filter on it to be able to use it at it's fastest speed at 1/50 shutter speed. This lens is a prototype so I can't show it, but this model looks quite like the 25mm T0.95 from SLR. It has also a no click aperture ring. Most of the shot of the movie are taken at T1.6, and you can see the very good sharpness of the lens, even at its fastest aperture.   SLR Magic told me that : "this is a SLR Magic CINE designation lens and not a HyperPrime lens so it is made for the budget indie filmmaker. It is in the same series as our 35mm T1.4 CINE II lens. Price of the production 17mm T1.6 lens is TBA (to be announced). The SLR Magic CINE 17mm T1.6 will have the same mechanical build as our 35mm T1.4 CINE II lens that repeatable focus. The 35mm T1.4 CINE II lens will be compatible with our upcoming 1.33x Anamorphic adapter but the 17mm T1.6 will not be on the compatible list. Field curvature effects causing softness at extreme when focusing at close focus distance were put into consideration during lens design and edge sharpness should be quite sharp even when wide open. Light falloff during wide open aperture is well controlled."   I have use the OMD E-M5 from Olympus. I've bought recently this camera because I was really impressed by the movie of Andrew Reid, where we can see the proficient internal 5 axis stabilization system.  It was quite hard for me to use this new camera. Two main problems have appeared : 1- I found that the contrast in classic image mode are very strong, the black are too black to my opinion (I've used the Natural mode). Then I decided to change the mode and I've used the Art filter 3 (ton neutre et lumineux, I suppose in english it's "neutral and bright tone") to have less strong blacks. But this mode gives green rendering (and the ND add it too), so I try to color corrected it. That's why you have two mode in this movie, the Art filter 3 is in the countryside and seaside shots. I did light color correction in quite all the clips. 2- The second problem is the using of ND filter on OMD with the stabilization. At the begining of my shooting I was using a variable ND filter from Cokin. The problem is that there is slight vigneting when you are closing it. And this vigneting is moving because of the stabilization. You can see this issue in some of the shot, the traveling with the girl with the yellow bag, for example.Then I decided to use another ND filter, not a variable, the Hoya NDX400. With a constant ND filter, the problem of the "moving vigneting" disappear. But it's less easy to use. Especially with the OMD that has less efficient dynamic range than the GH3. Anyway despite this problems I have discover with my first use of the OMD camera, I'm really impressed by its internal stabilization sytem, for example it allowed me to do these shot from the car in the small roads of north Ireland, with a third part lens such as this SLR Magic 17mm T1.6.  I'm really happy using this lens, it is a good experience and it's useful to have a fast 17mm, especially when you think that 25mm is not enough wide, and 12mm too wide.   Olympus OMD E-M5 SLR Magic 17mm T1.6 (prototype) 1080P 30 "Natural" and "Art 3 bright and neutral" modes Variable Cokin ND filter NDX400 ND filter from Hoya edited on Adobe Premiere CS6 CC on Premiere   Music (mash up) : Midlake "The Courage Of The Other" King Crimson "In The Court Of The Crimson King"  

https://vimeo.com/69963790     HERE IS SOME ROUGH EDIT of my project Womanhattan. Some of the shot are in anamorphic (baby hypergonar 1.75X on Contax G Zeiss 45MM f2/GH3/GH2/SLR 25mm TO.95, SLR Magic 12mm T1.6) There is five days left before the end of the crowdfunding. Since monday you will have five extracts. This is the third : day three july the 10th, 2013- taken in NYC april 2013   CROWDFUNDING FOR WOMANHATTAN, THANKS FOR YOUR SUPPORT ! English : ulule.com/womanhattan/ français : fr.ulule.com/womanhattan/ Womanhattan Facebook page : facebook.com/pages/Womanhattan/308092392578172   Day one is here :   https://vimeo.com/69880083   Day two is here :   https://vimeo.com/69946026

https://vimeo.com/69946026     HERE IS SOME ROUGH EDIT of my project Womanhattan. Some of the shot are in anamorphic (baby hypergonar 1.75X on Contax G Zeiss 45MM f2/GH3/GH2/SLR 25mm TO.95, SLR Magic 12mm T1.6) There is five days left before the end of the crowdfunding. Since monday you will have five extracts. This is the second : day two july the 9th, 2013- taken in NYC april 2013   CROWDFUNDING FOR WOMANHATTAN, THANKS FOR YOUR SUPPORT ! English : ulule.com/womanhattan/ français : fr.ulule.com/womanhattan/ Womanhattan Facebook page : facebook.com/pages/Womanhattan/308092392578172   Day one is here :   https://vimeo.com/69880083    

https://vimeo.com/69880083   HERE IS SOME ROUGH EDIT of my project Womanhattan. Some of the shot are in anamorphic (baby hypergonar 1.75X on Contax G Zeiss 45MM f2/GH3/GH2/SLR 25mm TO.95) There is five days left before the end of the crowdfunding. Since today you will have five extracts. This is the first : day one july the 8th, 2013- taken in NYC april 2013   CROWDFUNDING FOR WOMANHATTAN, THANKS FOR YOUR SUPPORT ! English : ulule.com/womanhattan/ français : fr.ulule.com/womanhattan/ Womanhattan Facebook page : facebook.com/pages/Womanhattan/308092392578172