David Hessel

For anyone interested I found a follow focus that is built like a tank and can handle this lens without issue. https://www.bhphotovideo.com/c/product/676525-REG/Cinevate_Inc_CIFFAS00015M_Durus_Follow_Focus_w_15mm.html

Also I should add that at this point I am only selling as a set, I would change the original lost buy I am not able to edit it.

Yes it is still available, my ebay posting is the same but it includes a 7q which is one reason why it's priced higher than here.

Kowa 16-H with Helios44-2, Rapido FMJ, Rapido RMJ, FVD-16A and HTN adapter EF/PL 07-06-2022, 09:35 AM Location: Colorado For sale is a Kowa 16-H that comes with a Helios 44-2 and the full set of Rapido accessories allowing you to convert this into a solid single piece lens. Additionally, it comes with the HTN locking front adapter for the Kowa 16-H, this provides a filter thread for mounting the FVD-16A and locks the focus of the Kowa to prevent accidental focus changes. This setup in combination with provided setup in rings allows you to connect the Helios to the Kowa into a single solid lens but with the additional freedom of being able to adjust the focus of both the Helios and Kowa to allow for much closer focusing. Usually you set the Kowa and Helios to infinity and focus using the FVD-16A to a minimum of 3.3 feet but with this alternate setup you can set the Kowa and Helios to a focus of 5 feet and then use the FVD-16A to focus from 5 feet to under 2 feet. This setup is also smaller and lighter than using the full Rapido setup while the rapido is more solid and secure. The kit includes. Kowa 16H Helios 44-2 Rapido FVD-16A Rapido Front Metal Jacket Rapido VClamp V3 full Rapido Rear Metal Jacket for the Helios. HTN Front Adapter for the Kowa 16H Step up ring to connect the Helios to the Rapido VClamp when not using the RMJ. Lens caps for the FMJ and FVD-16A EF and PL mount for the Helios Also available but not included in this kit is a SLR Magic 82mm Variable ND filter that I use with this setup. Pictures: https://imgur.com/a/6vIA71m Price: $1250 O.B.O

location: Colorado Vazen 50mm T2.1 1.8x Full-Frame / S35 Anamorphic Lens PL + EF mounts included This lens is currently out of stock at B&H due to high demand. The kit is complete as purchased with all accessories and both mounting options for PL or EF. The optical elements are absolutely mint. The outer body has a couple of small blemishes. Excellent condition all around. Key Features 50mm Anamorphic 1.8x Full-Frame Lens Interchangeable EF and PL Mount T2.1 to T16 Aperture Range Covers up to ALEXA LF 8K Sensor Markings in Both Feet and Inches 95mm Front Diameter, 86mm Filter Thread 3.6' Minimum Focus Distance Shim Set Included Vazen 50mm T2.1 Anamorphic Specs Focal Length 50mm Lens Mount ARRI PL Lens Format Coverage Full Frame Maximum Aperture T2.1 Minimum Aperture T16 Minimum Focus Distance From Unspecified Point in Lens: 3.6' / 1.1 m Gear MOD & Pitch Focus: 0.8 MOD / 32 Pitch Iris: 0.8 MOD / 32 Pitch Front Diameter 95 mm Filter Thread 86 mm Focus Scales Imperial Horizontal Squeeze (Anamorphic) 1.8x Image Stabilization No Length 5.2" / 13.3 cm Weight 3.42 lb / 1.55 kg Add an anamorphic widescreen look to your production with this 50mm T2.1 1.8x Full-Frame Anamorphic Lens from Vazen. The 50mm prime cinema lens provides a 1.8x anamorphic squeeze with slick blue flares and an oval bokeh. It comes with interchangeable PL and EF mounts to fit numerous camera models, and they can be easily changed by the user. It covers full-frame sensor sizes up to the ARRI ALEXA LF open gate 8K frame. The 50mm features a 3.6' minimum focus distance, minimum focus breathing, focus marks in feet and inches, an 95mm front diameter, and an 86mm filter thread. This lens comes with front and rear caps, a PL mount, an EF mount, and a shim set for use on a variety of cameras. Price: $6500 O:B:O

Location: Colorado Blackmagic Ursa Mini Pro G2 with PL mount - CH1 audio dial is not original. Blackmagic Side Handle Blackmagic Shoulder Kit Blackmagic EVF Blackmagic Resolve License Indipro V-mount batter plate 2 x 256 GB Angelfire C-Fast cards Angelfire card reader All BM items have all the accessories including the AC adapter and the original box. $5500 O.B.O

Great Joy 50mm T2.9 1.8x PL/EF Anamorphic Lens. New unused lens. Purchased for a film that did not make it out of preproduction. Realize I have no other use for lens as I have not used, outside of in studio test. Comes with EF swappable mount. * Not compatible with the focal reducer, speedbooster or adapter that has built-in filter and glass elements. All original paperwork and 2 year warranty card. Lens Type: Anamorphic Cine Lens Structure: 16 Elements in 12 Group Image Circle: 33x24mm Minimum Focus Distance: 0.7m Frame: 4:3 Full Frame Aperture Blades: 11 Mount: EF/PL Length (Cap Excluded) EF: 136.16mm PL: 123.43mm Squeeze Ratio: 1.8 X Weight (Cap Excluded) 1.04-1.09kg Aperture Range: T2.9-T22 Focus Scale Rotation: 270° Focal Length / Fov: 50.0mm (V) 20.7°(V) 27.8mm (H) 54.1°(H) Filter Thread Size: 82m Price: $1200

From recent experience I can confirm that the Oct18 to PL adapters, the one with the pin for primes, does not work with the Arri Alexa Plus, I tried to use some on the 4:3 version and the adapter contacts an inner flange in the stock mount that doesn't allow the lens to fully seat.

Still available but now it has a 15mm baseplate with a v-mount.

location: Colorado Vazen 50mm T2.1 1.8x Full-Frame / S35 Anamorphic Lens PL + EF mounts included This lens is currently out of stock at B&H due to high demand. The kit is complete as purchased with all accessories and both mounting options for PL or EF. The optical elements are absolutely mint. The outer body has a couple of small blemishes. Excellent condition all around. Key Features 50mm Anamorphic 1.8x Full-Frame Lens Interchangeable EF and PL Mount T2.1 to T16 Aperture Range Covers up to ALEXA LF 8K Sensor Markings in Both Feet and Inches 95mm Front Diameter, 86mm Filter Thread 3.6' Minimum Focus Distance Shim Set Included Vazen 50mm T2.1 Anamorphic Specs Focal Length 50mm Lens Mount ARRI PL Lens Format Coverage Full Frame Maximum Aperture T2.1 Minimum Aperture T16 Minimum Focus Distance From Unspecified Point in Lens: 3.6' / 1.1 m Gear MOD & Pitch Focus: 0.8 MOD / 32 Pitch Iris: 0.8 MOD / 32 Pitch Front Diameter 95 mm Filter Thread 86 mm Focus Scales Imperial Horizontal Squeeze (Anamorphic) 1.8x Image Stabilization No Length 5.2" / 13.3 cm Weight 3.42 lb / 1.55 kg Add an anamorphic widescreen look to your production with this 50mm T2.1 1.8x Full-Frame Anamorphic Lens from Vazen. The 50mm prime cinema lens provides a 1.8x anamorphic squeeze with slick blue flares and an oval bokeh. It comes with interchangeable PL and EF mounts to fit numerous camera models, and they can be easily changed by the user. It covers full-frame sensor sizes up to the ARRI ALEXA LF open gate 8K frame. The 50mm features a 3.6' minimum focus distance, minimum focus breathing, focus marks in feet and inches, an 95mm front diameter, and an 86mm filter thread. This lens comes with front and rear caps, a PL mount, an EF mount, and a shim set for use on a variety of cameras. Price: $6500 O:B:O

Location: Colorado Blackmagic Ursa Mini Pro G2 with PL mount - CH1 audio dial is not original. Blackmagic Side Handle Blackmagic Shoulder Kit Blackmagic EVF Blackmagic Resolve License Indipro V-mount batter plate 2 x 256 GB Angelfire C-Fast cards Angelfire card reader All BM items have all the accessories including the AC adapter and the original box. $6000 O.B.O

Great Joy 50mm T2.9 1.8x PL/EF Anamorphic Lens. New unused lens. Purchased for a film that did not make it out of preproduction. Realize I have no other use for lens as I have not used, outside of in studio test. Comes with EF swappable mount. * Not compatible with the focal reducer, speedbooster or adapter that has built-in filter and glass elements. All original paperwork and 2 year warranty card. Lens Type: Anamorphic Cine Lens Structure: 16 Elements in 12 Group Image Circle: 33x24mm Minimum Focus Distance: 0.7m Frame: 4:3 Full Frame Aperture Blades: 11 Mount: EF/PL Length (Cap Excluded) EF: 136.16mm PL: 123.43mm Squeeze Ratio: 1.8 X Weight (Cap Excluded) 1.04-1.09kg Aperture Range: T2.9-T22 Focus Scale Rotation: 270° Focal Length / Fov: 50.0mm (V) 20.7°(V) 27.8mm (H) 54.1°(H) Filter Thread Size: 82m Price: $1200

Location: Colorado Details below, pictures and more detail to follow. ARRI ALEXA PLUS 4:3 Camera Package (PL-MOUNT). Includes all Licenses. PL LENS PORT COVER ALEXA ELECTRONIC VIEWFINDER ARRI 24V CAMERA POWER CABLE ALEXA EVF CABLE SHORT ALEXA EVF CABLE LONG ALEXA CENTER HANDLE ELEMENT PV FF BRACKET ALEXA VIEWFINDER BRACKET CUSTOM FLIGHT CASE SONY SBP-128B 128GB SxS Pro+ Memory Card SONY SBAC-US30 USB 3.0 SxS Reader/Writer 4281 Hours Price: $6000 O.B.O

$3800 for everything

SONY SRW-9000PL with all three optional upgrade boards (HKSR-9001 / 9002 / 9003) and PL lens mount transforms this camera into an ENG-style Sony F35. This camera has the exact same sensor and image as the F35, only better portability as the interface box, shoulder mount, and HDCAM-SR recorder are all built into the body on the SRW-9000PL. - Super 35mm-sized CCD (Global shutter) - PL Lens Mount - 1080p - 24p, 25p, 29.97p, 50p - 10 bit 4:4:4 - S-Log/S-Gamut Color Space - ISO 800 Mode Gamma Curve - HD-SDI Output (dual link or 3G for use with an external recorder) Includes: - HKSR-9001 (HD-SDI Expansion Board) - HKSR-9002 (Picture Cache Expansion Board) - HKSR-9003 (RGB 4:4:4 Processor Expansion - Sony SRK-CP1 (same control panel as is found on the Sony F65) Location: Colorado Sony SRW 9000 PL with all option boards: $2500 OBO Sony HDVF C30WR: $500 OBO Sony ECM-678 Microphone: $350 OBO Sony SRW-1 and SRPC-1: $250 OBO Sony SRW-1 and SRPC-1: (Has NVRam Error, probably dead internal battery that needs to be changed - I will include this free with the other SRW-1 set): $150 OBO Power-U 190watt V-Mount Battery and charger: $100 OBO Kona 3g SDI capture card with breakout cable: $400 OBO 13 x 33 minute HDCAM-SR tapes (3x individual and a box of 10): $20 each, $200 for all OBO 2 x Sony AC-550 AC Adapters works for the SRW-9000PL and SRW-1: $50 OBO Flight Case for 9000PL: Free with camera, just pay shipping Flight Case for SRW-1: Free with SRW-1, just pay shipping $4200 for everything but I am will to sell some parts individually or just parts of the entire set. https://imgur.com/a/3xxTKmr

Bridge plate sold but rods and dovetail still available. Dovetail $300 OBO Rods $120 OBO

Price reduced $3800 OBO

Location: Colorado Use ARRI's BP-8 Bridge Plate Kit to balance your camera and to support 19mm rod-based accessories. The kit consists of the BP-8 sled, a 12" bottom dovetail plate, and a 17" pair of 19mm support rods. Directly compatible with the ARRI ALEXA Studio, the Sony F65, and the Phantom Flex4K, the BP-8 Kit can be adapted for use with the ARRI ALEXA Mini, AMIRA, and many third-party cameras (adapters available separately). ARRI Bottom Dovetail Plate (12") This 12" Bottom Dovetail Plate from ARRI is used with a sliding bridge plate or sled to balance your camera rig. To prevent the bridge plate or sled from sliding off, the Dovetail Plate features a spring-loaded post on one end and a stationary stop on the other. The bottom of the plate incorporates 3/8"-16 threaded holes for mounting the dovetail to a tripod quick release plate or other support. Use with a sliding bridge plate or sled to balance your camera rig (plate or sled not included) Includes a spring-loaded post on one end, and a stationary stop on the other to prevent the bridge plate or sled from sliding off Bottom of dovetail includes 3/8"-16 threaded holes for mounting to a tripod quick release plate or other support ARRI 19mm Rods (Pair, 17") This pair of 17" ARRI Support Rods feature a sturdy steel construction, designed to support heavier loads. Use them with any 19mm-based accessory or bridgeplate. Hollow, sturdy steel construction with non-threaded ends Compatible with any 19mm-based accessory or bridgeplate Price New: $1620 The item is in very good, like new condition. Pictures of the item are available upon request. Thanks. Price: $1000 O.B.O

I am unable to edit the post but the Arri-BP8 base plate was mistakenly added to this listing, it is available but not included at the listed price. Thanks.

SONY SRW-9000PL with all three optional upgrade boards (HKSR-9001 / 9002 / 9003) and PL lens mount transforms this camera into an ENG-style Sony F35. This camera has the exact same sensor and image as the F35, only better portability as the interface box, shoulder mount, and HDCAM-SR recorder are all built into the body on the SRW-9000PL.- Super 35mm-sized CCD (Global shutter)- PL Lens Mount- 1080p- 24p, 25p, 29.97p, 50p, 60p- 10 bit 4:4:4- S-Gamut Color Space- ISO 800 Mode Gamma Curve- HD-SDI OutputIncludes:- HKSR-9001 (HD-SDI Expansion Board)- HKSR-9002 (Picture Cache Expansion Board)- HKSR-9003 (RGB 4:4:4 Processor Expansion Board)- Sony SRK-CP1 (same control panel as is found on the Sony F65)

Sony SRW 9000 PL with all option boards and AC power supply Sony HDVF C30WR 19mm Arri BP-8 Baseplate with Rods 2 x Sony SRW-1/SRPC-1 (one set is fully fuctional the other set has a SRPC has a nvram 0103 error, it still works for playback and capture the only issue I have noticed is that remote deck control from a PC comes and goes about once a second, both SRW-1 decks are fully functional) Flight Case for 9000PL Flight Case for SRW-1 Kona 3g sdi capture card with breakout cable 13 x 33 minute HDCAM-SR tapes You can capture directly from the camera but I choose to use the SRW-1 to distribute use of the hdcam decks. The camera does have a 3G sdi out and can send record trigger signals without tape in the camera, I have never tested with an external recorder though. https://imgur.com/a/3xxTKmr Price: $5000

For sale is a Lomo Foton Anamophic Squarefront Zoom focal length of 37-140mm in PL mount that was serviced a year and a half ago by Olex Camera and has seen little use since. Also included is a Lomo 0.8M diopter. Located in the US. Glass is clean and clear with only minor blemishes, nothing out of the ordinary or unusual for a lens of this age, overall it is in very good condition. Thanks. https://imgur.com/a/osr8xq1 $6000 OBO

No they are the same. The micro 4/3 may have less light coming in overall but it has the same amount of light relative to the surface area of the sensor as the full frame setup. Another way to look at it is the F stop is the density of light produced by the lens, different lenses on different formats may have different amounts of light coming in but the denisty of light at the sensor/film plane is the same if the F stop of the lenses have is the same.

The taking lens for the Iscorama is meant to be at infnity always so it is set to Infinity focus with no focus ring. There is no point in having a focus ring on this lens since the the focusing is all handled via the anamorphic front. If it is not focusing at infinity then either your camera/mount adapter is out of spec or the lens needs to be collimated. The thing is anamorphic lenses like these require proper collimation, the anamorphic front and taking lens must be focusing in synch to get a sharp image. The front anamorphic block is set to infinity and is focused using a variable strength diopter infront of the anamorphic block, the taking lens must also be set to infinity to get a sharp image. I have don't know how to go about adjusting the focus on that lens but it will be difficult without a collimator. This is probably a job for a lens tech but if you want to try yourself you can make a DIY collimator using an old film camera. I did this a while back to fine tune the adjustmens for a anamorphic lens that I have. First I attached a lens to an old film camera and focused to infinity using the VF. Next I locked the focus at infinity so I could no longer change it by accident. Then I removed the shutter leaving the hole where the film would be exposted. I then made a focus chart using a printer and mounted that behind the hole where the film would be. I mount this camera and lens on rails infront of the lens I want to adjust that is attached to another camera so I can view its output. The cameras are setup so that the lenses are face each other. Last I placed a light behind the film camera with the film door open. You just look at the output from the camera with the lens you are adjusting and adjust the focus until you have a sharp image of the chart at infinity. This is definately not the most accurate way of doing it but was the best DIY solution I could readily come up with.

First if you convert 12 bit to 10 bits you end up with 10 bits of data. The bit depth determines the number of values a color channel can store so 12 bit has 4096 possilbe values and 10 bit has 1024 possible values regardless of whether it is log or not. The logic for storing visual data in a log curve, as I understand it, is the eye doesn't respond to increasing brightness of light in a linear way. Roughly speaking an object that has 4x times more light hiting it will only appeear to be about 2x as bright. So as the visual brightness of an object increases it takes more and more change in scene illumiance to cause the same relative increase in brightness. If you store data in a linear way you end up in a sitiation where it takes ever larger value changes in the data to create a visual differences in the image or to put it another way the brightness of the image is much more sensitive to changes when the pixels are dark and much less sensitive to change when the pixels are light. The other option is to encode the data in a logrithmic way that more closely matches the way the eye responds to light. In this way a change in data values will have a similar change in visual brightness for both light and dark pixels. So if you take a pixel and change the value by 2x visually the pixel will appear 2x brighter as well. Encoding colors this way allows the limited number of possible values to be more efficently and evenly allocated.