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  1. A Masked Luchadore. A Call to Action. 'Santo Drive' is a visual homage to Nicolas W. Refn's 'Drive' (2011). Shot on a BMPCC 4K with a Kowa 8z Anamorphic lens adapter. BRAW 8:1 (Sandisk SDXC). ISO 3200 😀 Color Grade based on my Blackmagic Pocket 4K LUT. Download Available HERE: https://bulentozdemirfilms.wordpress.com/bozbmdfilm_p4k-to-rec709-lut/
  2. I've been trying to purchase a decent Arri SR2 w/ Super16, but they're either too expensive, the sets miss a lot of vital accessories, or the cams don't seem to be in the best of shape. This has lead me to consider going for a regular SR1 or SR2 and mount anamorphic lenses. My questions: Does anyone have any experience shooting Arri 16SR or SR2 regular 16mm with an anamorphic lens? What are the biggest challenges? Do I have a lot of options with anamorphic lenses on a arri bayonet mount? Is the noise level on earlier Arri SR1's gonna be a problem for nearby sound recording? Thanks! 😃
  3. For Sale : Lomo 40-120 Front Element Anamorphic Zoom T3 $30,000.00 US
  4. In general I would describe it as lockdown-specific production, based on the need to shoot something without, you know, meeting anyone. This made extensive use of close-up lenses as the Sirui 50mm doesn't focus nearly close enough to do most of this without. I presumably owe some sort of swear box a donation on the basis of shooting an arty macro of a plant.
  5. Greetings everyone, Hope you’re are all doing well! Im currently looking for an externally mounted device, which would enable us to set a custom anamorphic desquezze as well as a 90 degree image flip. Ideally the device uses either a HD-SDI or HDMI signal and is customizable through a pc connection. I only require it for monitoring. Also It should be reliable enough to allow our drone OP to frame the shots without any signal processing issues nor long delay. Looking forward to your ideas 💡 Thanks in advance and stay healthy! -Montell
  6. Hi, I'm searching for a long lost relic of Depth of Field Adapters called: SG Blade DOF Adapter. It might sound silly, but I have been building a 1.5x anamorphic taking lens to a custom camera, and have built a prototype DOF Adapter for the ultimate anamorphic 35mm look with practical functionality. I need an SG Blade, because it was the best of it's kind, and I need to compare our prototype to the best. Please respond if you have one willing to sell. You will be helping out with a pretty sweet R&D project. Thanks!! 🙂
  7. Looking to purchase Cooke Anamorphic SF Lens Set. Needs to be full set 25 to 180mm. (Feet) Please contact sales@broadcastsolutions.com.
  8. Reluctantly, selling my Isco54...I searched for one for so long and was so happy to finally have one, but I need to free up some funds to purchase Helium or Gemini...so I am selling this and a handful of other pieces from my collection of glass. My copy has a ~1mm scratch near the outer edge of the front element, however in using the lens I have never found any effect on the image. I would not let this discourage you at all, it is purely cosmetic. Other than this one thing, and the usual minor bits of internal dust, the rest of the glass is in wonderful shape. All that said, I'm of course not going to ask the same price as an example in perfect condition...so I am asking considerably less than the going rate of $4-5k for an Isco 54, or even 42/36. This one is a multicoated model, has fantastic flare resistance for those of you that like to avoid flares. Comes with a rare step-up ring that goes from 55mm (on taking-lens-side) to the 77mm of the Isco54's rear thread...it's deep, designed to compensate for the Isco's rear element that otherwise sticks out considerably. Being 55mm, it is ideal for using with Contax Zeiss! 🙂 This would make a GREAT candidate for rehousing either by Van Diemen, or for EXO-Optik's "Proxiscope"; both of which greatly improve upon this already awesome lens by implementing a non-rotating front, as well as allowing significantly closer minimum-focus-distance (under 3 feet). EXO-Optik: https://m.facebook.com/exooptik?__tn__=R $3000 USD, or €2500. Great opportunity to get into the world of Isco for less than the ever-increasing usual prices. Pictures attached, taken with flashlight shining through from other side to show clarity of glass and make internal dust visible (those are the specks seen, disassembly and cleaning can take care of them if you want to do so, but otherwise they do not affect anything), and the third pic points out the small scratch near the outer edge.
  9. Like the subject line says, I am crazy and want to convert my Contax Zeiss set (f2.8/25, 1.4/35, 1.4/50, 1.4/85) to anamorphic PL. How stupid or expensive (most likely, both) is this idea, and who would you recommend to do such an insane task? The FAQ mentioned many anamorphics started out as Zeiss lenses in the first place. Joe Dunton : JDC comes to mind but if you have better ideas, I’d love to hear it. Thanks!
  10. Hey guys i had Come across and old collection of lenses from the original owner after months of searching for the fabled lenses . the lenses Include Nippon Scope 28mm 2.8 Kova 50 mm Kova 50 Mm Kova 75 MM Technovison lomo sqarefront 50 Technovison lomo sqarefront 50 Technovison lomo sqarefront 50 Technovison lomo sqarefront 35 Technovison lomo sqarefront 35 Offers welcome planning on keeping a set of kovas and a pair of the lomos as i have the roundfronts in my rental inventory message for any info https://photos.app.goo.gl/6LnPu3ibrxMCRTLUA
  11. Hello everyone! My name is Lee, a DOP based in London. I just wanted to share my little 3-minute short film 'OUR PLASTIC BEACH'. Shot with Kowa Anamorphics / Alexa Mini The story follows a young girl and her Grandmother tackling plastic waste on their local beach. Watch here https://vimeo.com/440290692 I hope you enjoy it and feel free to share the link, let's spread the word and inspire the younger generation! Thank you! Lee
  12. Hi there, I believe that this is probably something that has been discussed before. But I hope there are some new things that can be brought up with this question. I have an upcoming project in the fall, and the director and I have decided that we want to have the anamorphic look for a short we will be making. Now the flares are not the most important thing, but rather the vast image that we are going for. The problem is how to achieve it. First idea would be to use my own S16 Eclair ACL, with an PL adapter, and we were considering renting pure 1.33x anamorphics. But as far as I know, the only ones to rent at the Hawk's, and they would cost us pretty much the complete production budget to get a set. Second idea we had is to use a R16 Arriflex SR and put Kowa 2x on it. The real issue here would just be the wider shots, since we basically loose all the width in the image. Third idea is to invest in a Panasonic AG-LA7200 adapter, with a 0.25 diopter, and use B4 lenses on the ACL to get the image we are going for. I also have a person that can make a M4/3 adapter for the ACL, so any M4/3 solution would work as well, but honestly I am open to any ideas you might have. And yes, both me and director are 100% set on shooting on film stock. C
  13. Hi! So I've got a few special lenses I am about to sell, or at least some of them. All of them are in excellent condition. Located in Vienna, Austria / but can send them anywhere you want. So here we go: Leica Leitz APO Summicron R 180mm f2.0 Very rare, and very beautiful. Would make an excellent addition to a Summilux-C or Summicron-C Set. It is in nearly perfect condition. Also this will cover larger than FF, this is an impressive lens & will be especially impressive on formats like Alexa 65 etc. Two very slight marks on the body a minimal short hairline scratch at the front glas - just saw it when having it inspected at the Leica Store. Would invest in a PL conversion in no time if I would have a project for it. Aperture & Focus runs smoothly no fungus no haze. Will be sold by the Leica Store Vienna to a much higher price, beginning in one week or so - so this is the chance to buy directly from me. Make me a realistic offer. Prices on Ebay are 6k-9k €. Iscorama - Anamorphot 1.5x 42 MC Very rare, and very beautiful as well. I don't know how it was possible, but I've got two of them. Just pops up on ebay every few years or so. I'm fine with only having one. In perfect condition. Focus runs smoothly no fungus no haze. Value is hard to tell, since it doesn't get sold very often. I guess around 4-5k €. Iscorama - Anamorphot pre 36 non MC The classic Iscorama everyone is looking for. In very good condition. Just the plastic housing looks a bit grey, but optically excellent. Focus runs smoothly no fungus no haze. 3.5k € Rollei Carl Zeiss Distagon & Planar 1.4/35 & 1.4/85 (FF, triangular Aperture) - Vintage Full Frame Slightly different in coating to the well known Contax Zeiss Lenses (but still match well to them) but their killer feature is the triangular aperture. Like B-Speeds but these are Full Frame. Just got inspected by a lens technician. Excellent condition. Can be easily adapted to EF if necessary. Also have the Rolleiflex 6006 - an awesome 35mm analogue camera, if you are interested in these. Was a quite remarkable system at the time, where you could change the filmstocks, like with medium format bodies. 2.2k € for both lenses Canon FD 55mm SSC 1.2 - Vintage Full Frame I've got the ASPH version as well. Didn't see much of a difference, apart from that this is not yellowing, because it got no thorium in it. This lens is Mint, I wouldn't want to take it in the field :D. 400€ Canon FD 35mm SSC 2.8 TS (Tilt Shift) - Vintage Full Frame Vintage Tilt Shift - so it covers much larger then Full Frame. Mint! 700€ Canon FD 100mm 4.0 Makro - Vintage Full Frame Solid Makro lens - not that rare, but this is mint! 150€ Open to reasonable offers, can send images - just contact me. Thanks! Best, Patrick
  14. I am trying to find a pre rehoused Kowa anamorphic lens to send to P &S and the only thing I see are 16-S which I think is not what I am looking for (I think ) . Are these extremely hard to find ? Any thoughts about where these can be found?
  15. Do any folks here have experience with 16mm 2x anamorphic? I'm considering it for an "upcoming" long-form music video project, about 15-20 min. I understand that cropping will be involved if it ever hopes to be projected somewhere, I'm ok with that - I'm prioritizing the anamorphic look. What cameras have you used? Any rental house recommendations in the LA area? What on-camera monitor did you use? Is there such a thing as an anamorphic viewfinder diopter? What other issues did you run into and need to negotiate? Thanks!
  16. Arri Master Anamorphic set x4 35mm 50mm 75mm 100mm Plus Extenders 1.4x 2.0x The 50mm is brand new The lenses are located in the US. Price: $125k. omar@raw-entertainment.com
  17. Hi, I’m new to this forum and I have a question that I hope that someone with a knowledge of Todd AO anamorphics might be able to give me some clues about. I have a Todd AO 35 front element that I bought on Ebay some time ago. I’m trying to find out which focal length this element should have (as in, the focal length on the taking lens). And also, whether this is the early or later version of the Todd AO’s. I was thinking that if I can figure out which taking lens to use, I could get an old Canon K35 lens and have the whole thing built into a fully functioning anamorphic lens by Kim Camera or the like. So, I’m reaching out to anyone who might have a clue as to which lens size this element would fit with. The front is 122mm and the rear is 48mm. I would be grateful for any clues, and any pointers before I embark on this project!
  18. For Sale : Kowa Classic Anamorphic Lens Set : $84,000.00 Rehoused By P&S Technik Set Includes: 40mm T2.3 50mm T2.3 75mm T2.8 100mm T3.4 Series 9 Diopter Kit - +1/2, +1 & +2 - Comes With Adapter Clamp Ring To Clamp On The Front Of The Lenses Case For Lenses And Diopters
  19. FS: Alexa Plus 4:3 $13,000 USD Comes with V mount plate installed and AB plate included 5x 64gb Sony SxS pro cards Sony card reader 2533 hrs runtime Includes case and all cables and accessories pictured Let me know if you have any questions Located in Vancouver, BC Please email brandon@scrapcreative.com with any questions
  20. Hello everybody, a brief question. Can an anamorphic lens enhance the video quality of the canon xl2 ? Please, give a look at the following link: What do you think about ? Thanks very much in advance. Regards.
  21. I've been deep diving into the world of DIY Anamorphic lenses and now I can share some of my experiences. Recently, I modified an old anamorphic projection lens so I could use it on set. My website has a full version of this post as well as a PDF, but I wanted to share it here in its entirety for discussion. http://ajyoungdp.com/articles/blog/BH16/ The Bell & Howell Anamorphic Lens (BH16-2) is an old projection lens originally meant for projecting and de-squeezing 16mm film. Cinematographers can easily modify and adapt this lens for practical use on set with minimal additional parts. The following guide gives close to a step-by-step tutorial on how to modify the BH16-2 for practical use in cinematography and photography. However, there are some steps that won’t be explained, such as how to grease a helicoid, use a spanner wrench, or align an anamorphic lens. Acknowledgements Tito Ferradens for his saint like work on DIY Anamorphic Chris Bold for paving the way of trial and error Richard Gale for shining a light when we needed it Key Concepts Before beginning the modification, the BH16-2 has a key concept about its original design. A built in variable diopter makes the BH16-2 an easy and affordable lens to modify in comparison to other projection lenses. Variable diopters are a clever and simple way to circumvent the double focus anamorphic lenses require. An anamorphic lens contains an anamorphoser and a spherical lens. The anamorphoser compresses/squeezes the image horizontally; additionally, it controls the horizontal focus of the image. The spherical lens controls the vertical focus of the image and aperture (not present on fully built projection lenses). These two lenses are focused at the same time mechanically in high end anamorphic lenses, called single focus. When building a DIY anamorphic lens, cinematographers typically use the anamorphoser from a fully built anamorphic projection lens and clamp it together with a different spherical lens. Both the anamorphoser and spherical lens, however, will need to be focused at the same time, called double focus. These fully built DIY anamorphic lenses lack any mechanics for controlling both focuses at the same time, so cinematographers have to manually pull focus on both parts by hand. Variable diopters, on the other hand, take advantage of optics to control the focus of the two parts. In photography/cinematography, diopters are filters that decrease the maximum focus distance of the lens, allowing the user to focus closer than the lens originally can. Diopters are often used in macro photography, but have a prominent application in anamorphic cinematography. A diopter can have a positive or negative optical power. When diopters of different powers are combined together, they can increase or decrease in power. A variable diopter uses a combination of two diopters that, when close together, equal a small power, but grow in power as they seperate. The larger the power of the diopter, the closer the maximum focus. Setting both the anamorphoser and spherical lens to infinity guarantees they are focused to the same point. Then, attaching and using a variable diopter can move that infinity point while keeping both lenses focused on the same point. A variable diopter makes the fully built anamorphic lens a single focus lens. This is what the three main parts of the DIY anamorphic lens looks like: All three of these items are clamped/built together to create a DIY anamorphic lens. The original BH16-2 is exactly like this, a variable diopter built onto the anamorphoser that is screwed onto the spherical lens: The downside of the original anamorphic lens is that the variable diopter requires numerous full rotations to pull focus from infinity to a close focus. Most lenses for cinematography rarely reach a full rotation from infinity to close focus. Additionally, the original spherical lens has no aperture and is near impossible to mount to any camera. This modification fixes the over rotation, corrects infinity, gives a better close focus, and allows for attaching various different spherical lenses. How to Modify the BH16-2 From left to right are the three main parts of the original BH16-2: Spherical Lens, Series 7 Adapter Ring, and the anamorphoser with built in variable diopter. For this mod, we will: Replace the spherical lens with one of our own Convert the adapter ring to our new spherical lens Replace the variable diopter helicoid with a new helicoid Parts & Tools You will need the following parts: BH16-2 with original Adapter Ring Nikkor 85mm AIS F2 Lens 58mm to Series 7 Step Up Ring 58mm Circular Polarizer Rubber Gasket about 54mm big with an interior diameter slightly smaller than 45.95mm These are approximations. When in doubt, use bring the removed variable and helicoid with you to find the right size gasket. [Alternative to Rubber Gasket] 3D Printed Diopter Holder 58mm to 58mm Helicoid Focusing Ring 17-31mm Vid Atlantic Lens Clamp, 77mm Appropriate step-up/down rings from 77mm to the 58mm Helicoid Focusing Ring 1/4 inch 20 lens support point from a Rapido FMJ Appropriate bolt size to mount this support to the Vid Atlantic Lens Clamp PVC Tape You will need the following tools: Flat Head Screwdriver Lens Spanner Wrench Rubber Gloves Cotton or cotton like gloves Hex Keys Knife or Dremel Tool 1 - Replace the Spherical Lens This is the easiest step. The original spherical lens has no aperture control, projects a small image circle, and is near impossible to mount to a camera. Instead, we’ll use a photography lens that can do everything the original spherical lens can not . For this project, we’ll use the vintage Nikkor 85mm AIS F2: The Nikkor 85mm AIS F2 is a reasonably priced lens that delivers sharp, neutral looking pictures. It doesn’t have the clinical feel of modern lenses, but still maintains the sharpness for even the largest of screens. Of course, you’re not limited to this focal length, maximum aperture, or lens. The BH16-2 is a narrow lens to begin with, so anything wider than an 85mm vignettes on a S35 sensor. However, tighter lenses like a 105mm or 135mm work well with this anamorphoser. 2 - Convert the Adapter Ring The adapter ring that comes with the original lens has a specific thread on the inside that screws to the anamorphoser. The thread on the rear of the anamorphoser isn’t an industry standard thread and requires the original adapter ring if a cinematographer wishes to use step-up rings to attach the new spherical lens. If you do not have the adapter ring, then you’ll have to use another lens clamp to attach the spherical lens to the anamorphoser. This guide will focus on using the original adapter ring. The rear exterior threading of the adapter ring is Series 7. In the above photo, a 58mm to Series 7 Step-Up Ring is screwed snugly onto the adapter ring. Additionally, the adapter ring is then screwed back onto the anamorphoser. In Section 3 of this guide, the anamorphoser will be modified to stay locked in alignment via 15mm rod support. Currently, the adapter ring with the step-up ring attached will make it impossible to correctly mount the spherical lens to the camera because there is no ability for the lens to rotate. To fix this issue, a modified circular polarizer (CPL) will be attached. Using a spanner wrench, remove the polarizer glass from the CPL. Screw this empty CPL to the modified adapter ring. Now you can mount the spherical lens to the anamorphoser and still rotate the spherical lens into the camera mount. 3 - Replace Variable Diopter Helicoid The next, and most complicated step is to replace the variable diopter helicoid (VDH). Two flat head screws prevent the original VDH from being completely screwed off. Remove these two screws: Once the screws are removed, twist off the original VDH completely: The original VDH only contains one of the diopter elements, the other is built onto the anamorphoser. Our mod will remove the diopter in the original VDH and place it into the new VDH. Using a spanner wrench, unscrew the ring that holds the diopter in the original VDH. This ring will be tough to unscrew and will require considerable amount of force. It’s best to lock the spanner wrench and use rubber gloves to grip the VDH. Other cinematographers have tried lightly tapping the exterior of the VDH to help loosen the ring. There is no glue in the rings of the VDH. Once the ring is removed, push out the diopter with your finger. (It’s recommended to use cotton or cotton like gloves to avoid smudges and scratches) Above are the three removed items: the original helicoid, the ring that held the diopter, and the diopter itself. Next, we will place the diopter into the new helicoid. The helicoid that works best with the BH16-2 is an M58 to M58 Focusing Helicoid Ring 17-31mm. This specific size perfectly fits over the anamorphoser. Most of these new helicoids are too stiff from the factory. The best practice is to re-grease the helicoid before installing the diopter. Next, the diopter will be inserted into the helicoid. A rubber gasket will hold the diopter in place within the helicoid. [Alternatively, a 3D Printed Diopter Holder can be used] This particular rubber gasket has an interior diameter that is too small, so a knife or Dremel tool was used to widen the diameter. The diameter should just smaller than the diopter itself because the rubber will stretch around it and hold the diopter snugly in place. Before installing the diopter in the gasket, install the gasket into the helicoid by pushing it in: Once the gasket is pushed into place, push the diopter into place: Above are the front and back of the new VDH with the diopter held by the rubber gasket. Next is installing the new VDH securely to the anamorphoser. The sturdiest solution is to use a clamp like one of the Vid Atlantic anamorphic clamps. The particular clamp used in this guide has a front 82mm thread and a rear 77mm thread. Once the lens is complete, it will be too heavy for the camera mount and adapter ring. The clamp will also become the lens support point. The female 1/4 20 support point from a Rapido FMJ was used for this clamp mod. Additionally, step up rings were attached to the front 82mm thread. Once the step up rings are attached, the new VDH is screwed into place on the lamps clamp. Finally, the new VDH will be clamped to the anamorphoser. Before attaching the new VDH, use PVC Tape to cover the anamorphoser. The tape only needs to cover where the bolts of the clamp will touch. Doing this protects the anamorphoser and gives extra grip for the bolts of the clamp. Once taped, attach the VDH! Screw the anamorphoser + new VDH to the spherical lens. The newly modified lens is nearly complete, but the anamorphoser needs to be aligned. Attach the lens to a camera, then attach the rod support, and finally align the anamorphoser by loosening the VDH clamp and rotating the anamorphoser until alignment is correct. Once it is, lock everything down. It’s important to use rod support with the mod because the various step-up rings and the spherical lens are too weak to hold the weight of the anamorphoser and variable diopter. It also locks the alignment of the anamorphoser and spherical lens. The added stability of the lens support is a requirement for the BH16-2 to be practically used on set. The final step is to set the spherical lens to infinity and the lens is ready to shoot! A Few Notes Infinity on the spherical lens largely depends on how accurate the focal flange distance is of the camera mount. In most cases, the infinity markings on the spherical lens won’t be the infinity you set the lens to. The best way is to mess with the focus of the spherical lens and variable diopter until they line up. Once they do, you’ll only need to pull focus with the variable diopter. The anamorphoser is already set to infinity. However, these lenses are old and it may have been dislodged over time. This guide doesn’t address how to fix the anamorphoser and it is recommended to seek professional services for the anamorphoser. The diopter element within the rubber gasket will need some adjustments. Collimation is the accurate alignment of optical elements and the diopter will most likely be aligned incorrectly once it is installed. The easiest solution is to adjust the diopter element within the rubber gasket until sharpness is even across the image. Additional Resources Chris Bold’s Journey - https://www.eoshd.com/comments/topic/8996-seeking-info-about-the-bh-projection-lens/ QuickHitRecord’s Journey - https://www.eoshd.com/comments/topic/6411-bell-howell-16mm-anamorphic-lens/ Tito Ferradans - https://www.tferradans.com/ Anamorphoser measurements by Chris Bold:
  22. I have for sale a rare and sought-after Bolex anamorphot 8/19/1.5x lens adaptor. Designed for the H8 cameras, they've found new fame for the superb and distinctive look they bring when used on micro 4/3rds cameras. This one is in excellent condition - a few marks on the barrel to be expected with age, but the optics are clean as a whistle. It's easily mounted to any lenses with stepup rings or readily-available custom anamorphic adaptors. Images attached below. There are plenty of reviews on the web, and some beautiful test footage from one here: https://vimeo.com/37044086. This is a fantastic, unique and cost-effective addition to any 4/3rd shooters lens set. Price is US$975. Available to view in Hobart or Melbourne, Australia but happy to send internationally with Paypal fee and shipping additional. More images are available on request - as I can't seem to attach them! Cheers, Jonathan.
  23. Want to buy ARRI AVF-2 viewfinder or similar viewfinder that enables anamorphic de squeeze on the 435.
  24. Looking for Zeiss Master Anamorphic 35 & 50mm Lenses. Please email sales@broadcastsolutions.com with details.
  25. For Sale : Cooke 65mm Macro Anamorphic/i Lens W/ Case. $26,000.00 Email sales@broadcastsolutions.com
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