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Found 160 results

  1. 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!
  2. 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
  3. 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.
  4. 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
  5. 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
  6. 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
  7. 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?
  8. 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!
  9. 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
  10. 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!
  11. 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
  12. 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
  13. 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.
  14. 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:
  15. 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.
  16. Want to buy ARRI AVF-2 viewfinder or similar viewfinder that enables anamorphic de squeeze on the 435.
  17. Looking for Zeiss Master Anamorphic 35 & 50mm Lenses. Please email sales@broadcastsolutions.com with details.
  18. For Sale : Cooke 65mm Macro Anamorphic/i Lens W/ Case. $26,000.00 Email sales@broadcastsolutions.com
  19. For Sale : Angenieux Optimo Anamorphic 56-152mm Zoom Please email sales@broadcastsolutions.com for pricing and details.
  20. Looking for an Angenieux Optomo Anamorphic 30-72mm Zoom (Feet) Please email price and details to sales@broadcastsolutions.com
  21. Hello, Rectilux-BOLEX-MOLLER 16-32 x1.5…VERY RARE !!! Combo Rectilux / BOLEX MOLLER-16-32 x1.5 So far the best way to get a true anamorphic ratio for the Cinemascope (2:66), without the constraints of a double focus. Your lens remains over the infinite and the Focuses only with Rectilux without adding diopter ring. The flares and especially the depth of field are magical, natural, impossible to replicate in post-production. You get a spectacular cinema image. The Bolex-Moller is of high quality (superior to Lomos, and other Iscoramas Letus or SLR Magic ...). All connoisseurs know that the Bolex-Moller is a benchmark of quality ... the x1.5 16-32 is now highly sought after. It becomes very, very rare! Mine is in immaculate condition, with no trace of wear, no dust or fungus. Comes installed, went with the Rectilux. The Rectilux is like new, (referenced / number "7") to which was added a 0.8 gear ring for your follow focus. I bought it from fellow Chris deshoux almost three years ago. I struggled alot to find one since it's extremely rare. Again, it is in pristine condition, if you want pictures, pm me. price : 3500 euros + shipping. or Best offer. cheers
  22. For Sale : Angenieux Anamorphic 56-152mm Zoom Lens Please email sales@broadcastsolutions.com for pricing and details.
  23. VINTAGE ULTRASCOPE ANAMORPHIC LENS SET CLICK HERE FOR PICTURES Set of four vintage anamorphic lenses Ultrascope 40mm f2, 50mm f2, 85mm f2, 135mm f4 All lenses are in arriflex standard mount. The back spherical lenses are Zeiss on the 50-85-135, and Cooke speed panchro II on the 40mm. This set was completely cleaned, lubricated and checked for collimation in 2018 by Visual Products, copy of the report is available. As far glass conditions, some of the lenses do show some cleaning marks on the coating. The set is rare and a fantastic vintage set to say the least. I tested it, please check the screen shots done on my Red Dragon in 4k, using different F stops per each lens. Link below. https://vimeo.com/310163880/34b5d77289 All the lenses do perform beautifully, offering a nice warm effect typical of these old anamorphic lenses, and they are relatively fast compared with other modern ones. They could be converted to hard PL mount by V.P. for an additional cost of $810 per ea. lens, inclusive of focus gear. Price the full set $57,000 + shipping fedex I will be visiting the Las Vegas NAB show in April, and if you are seriously interested, I will have them with me!! Hit me up with any questions you might have! ****NO INTERNATIONAL SHIPPING SORRY****
  24. Angenieux Anamorphic 30-72mm A2S T4 For Sale. Like new condition. Only used a few times. PRICE REDUCED Please email sales@broadcastsolutions.com for pricing and details.
  25. Starting out as Original Cine in 1989 renting 16mm and 35mm film equipment from a small cottage in Albert Park, The Vision House has been built on years of industry experience to become a premier boutique rental house based in Port Melbourne, Australia. Since its inception The Vision House has been growing every year with our inventory constantly being updated. We now offer a range of digital cameras including the Red Monstro Vista Vision, Red Weapon 8k, RED Gemini 5k, Alexas – Mini, Amira & SXT, Canon C700 Full Frame (PL Mount), Canon C200 (EF Mount) as well as the Phantom Miro LC320S high speed camera. Also offered is a large range of lenses including Canon L Series, Canon CN-E, Zeiss Compact Primes, Zeiss Super Speeds, Zeiss Standards, Zeiss Supremes, Arri/Zeiss Ultra Primes, Cooke S4i, Cooke 5i, Cooke Anamorphics, Leica M0.8s, Leica Summicrons, rehoused Mamiya 645 (PL Mount) and Kowa Anamorphic Lenses (Rehoused by P&S Technik and the new Evolution Series). In addition to prime lenses The Vision House also has numerous zoom lenses including the majority of the Angenieux Optimo range as well as various Zeiss zooms - covering both S35 and Full Frame/Vista Vision. An extensive range of support equipment is available that compliments the camera and lens inventory including tripods (from Ronford Baker to O’Connor), Remote Heads (Arri SRH-3 - Stabilised & PowerPod Classic - Non Stabilised), Gimbal Systems (Arri MAXIMA), filters, lighting as well as a range of camera accessories. Our aim at The Vision House is to provide the best equipment possible for you based on your specific job. Our long association with the Melbourne film and commercial industry coupled with our previous production house experience has enhanced our knowledge base, allowing us to offer informed advice to new and existing customers. http://www.thevisionhouse.com.au 195 Rouse Street, Port Melbourne Victoria, Australia, 3207 ph: +61 3 9676 2732 email: rentals@thevisionhouse.com.au
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