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Found 14 results

  1. 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****
  2. For sale a very rare B&L Cinemescope Front Camera Attachment Lens Recently overhauled at Duclos Details here: https://www.ebay.com/itm/123419952180
  3. I am trying to find if any major tv series were broadcast in scope aspect ratio? I know some shows such as The Walking Dead and True Detective s02 were shot anamorphic with a 16:9 extraction, but looking on line I was not able to find any series broadcast in scope except a british show called Broadchurch which apparently was shot anamorphic for 2:1 screening. Also the great doco Wild Wild Country was shot scope (seems anamorphic). Any other thoughts?
  4. I would like to officially introduce the amazing optical-mechanical work of Marco Kroger of the former East Germany. He is not a member of this forum and may be contacted on Facebook. Marco studied at the Technische Universität Chemnitz and he is actively adapting, modifying, converting, retro-fitting optical-mechanical R8/S8/16mm/35mm lenses/cameras. He has also created SLR/stereo ultra-widescreen 35mm photography systems. He also has built controllers, strobe/flash systems, photo-cell triggers, etc. He also utilizes the term Panascope to describe his ultrawide modifications to Regular 8, Double Super 8 and Standard 16mm transports. He alternates between the two terms but the aspect ratio is identical to UP8 based Regular 8, i.e. 3.7 x 10.3mm. He was originally inspired by my numerous UltraPan8 films online. Here is the current list of his Panascope/UltraPan8 projects, i.e. 1. Zenit Quarz Double Super 8 camera converted to Regular 8 based Panascope/UltraPan8 C-Mount w/ Newton parallax viewfinder matched to 10mm Zeiss Jena Tevidon C-MOunt lenses (APO). He rejected a Double Super 8 based transport on account of the more common availability of Regular 8 film stock, i.e. 2. Panascope/UltraPan "8 Regular 8 based projector, i.e 3. Panascope/UltaPan"8" scanner, i.e. https://www.youtube.com/watch?v=4XHSn_H ... e=youtu.be 4. Panascope/UltraPan "8" directors viewfinder w/ C-mount. It appears to have a dioptre. To be confirmed. He recently suggested that it may used as twin-reflex C-Mount parallax viewfinder on his conversions. 5. Presently converting a Meopta Admira A (Czech Republic) 16mm electric to Panascope/UltraPan 8, i.e. His choice of cameras is based on weight (light), low cost and their general availability in Germany (common). All built over the last two years in addition to his multiple format camera projects. The year 2016 is shaping up with many options for film enthusiasts. Nicholas Kovats Toronto
  5. As mentioned in an earlier list, I am about to shoot my final diploma film. We are in a process of finalizing the visual form of the film and using anamorphic lenses is one of the ideas. We have Kowa Prominar lenses available at the institute which got serviced yesterday. With few students along I took few shots just to see how they are performing post servicing. Although I intend to shoot my diploma film on 35mm Film, these few shots were taken on an Arri Alexa XT. Prores HQ. Rec 709. In available light. ND filters were used in exterior shots. It is not a test but I would like to have a feedback on it from the members, not only with respect to technical elements like distortion and flaring but also using these lenses and format as an aesthetic choice. Would be sharing detailed test on film as well as digital soon. Regards Shashank Walia Class of 2011 Cinematography www.ftiindia.com
  6. For sale is my personal Lomo anamorphic round front set: 35mm Lomo Anamorphic T2.4, PL-mount 50mm Lomo Anamorphic T2.4, PL-mount 75mm Lomo Anamorphic T2.4, PL-mount All lenses are optically and mechanically in perfect condition with smooth aperture and focus operation. All have stainless PL-mounts, and focus gear rings. No scratches, no fungus, The lenses are ready for shooting. Also included: 2 Cases, front and rear caps. New York City checkout can be arranged. Price: $25,000.00 Contact woftam@erols.com
  7. Shooting with Sony F5, the idea is to have a final film with a cinemascope look once it'll be projected. I know I can't have the choice but to shoot with the native aspect ration of 17:9 of the F5, I'll so put the letterboxing markers (2.4) that crops the native aspect ratio. My question is: do I lose lots of resolution once I put 2.4 mattes on the 17:9 native to create the cinemascope look? What could be the solutions? If I shoot 4K external could be a better compromise to the loss of resolution? Since I'm recording with an higher resolution then the internal 2K? (When I set the mattes in the camera, do I record already with them? or the markers are just guide lines that help me framing knowing what would be the cinemascope look at the end?) If I shoot with Red Epic (Dragon sensor), what could be the best aspect ratio settings for a final cinemascope look? 6 wide, or do I crop later with the mattes? I can't use any anamorphic so I can't take this possibility into account. Thanks a lot for any help!
  8. Found this on ebay. I have no real use for this but it looks like a great little custom-made item, so I thought I'd post it. http://www.ebay.com/itm/251803745368?_trksid=p2055119.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT
  9. for sale or trade is my lovely Century Optics 16:9 adapter. It is a front mount 1.33x squeeze anamorphot that is quite sharp. It has a 58mm rear thread which make is useful with dslrs and cameras like the blackmagic cinema camera for shooting true 2.35 cinema-scope image when use with a 16:9 sensor. No cropping, use the entire sensor for maximum resolution. It also comes with a clamp on sun shade that has a series 9 filter mount in the front. Also included are six diopters for shooting close ups. With this adapter, you loose some of the minimum focus you previously had, so these diopters get that back making sharp focus with in five feet possible. It does vignette at wider angle on different cameras, so you have to test. Keep in mind though, that with the increased field of view width wise, you don' t need to have as wide a lens as you do when shooting spherical. Here are some pictures, video samples to follow. Asking 950 US for the lot. It is in excellent condition and creates beautiful blue flares. I am also willing to trade plus cash for a Panasonic LA-2700 anamorphic adapter. It's size and rear thread better suit my needs.
  10. I put a set of rare lomo anamorphic lenses on Ebay for bidding. Contents: 1. square front N66-03 HAC 4-18 2. LOMO OKC > 50 mm 1:2 PL- Mount (35mm) , No. 662228 3. LOMO OKC > 75 mm 1:2 V PL-Mount (35mm) , No. 6619402 Front and Rear Lenses are in a VERY good condition, NO Fungus, Haze, Scratches. Actual Price is 750 (around 900 US Dollars) Euros for both Link is http://www.ebay.de/itm/LOMO-anamorphic-camera-lens-Objektiv-Square-Front-N66-03-Arriflex-50-75-mm-/351221273408?pt=Filmkameras_projektoren&hash=item51c66b5340 Shipping is worldwide ! Also, i put some Lomo High Speeds on ebay (same User). The Highspeed Lenses working very smooth, frontlenses are scratch-, fungus-, haze-free. The lens COATINGS (not the lens) of some rearlenses (some Lomo Highspeeds) is a bit scratchy. Good Luck
  11. For sale is my personal Lomo anamorphic round front set: 35mm Lomo Anamorphic T2.4, PL-mount 50mm Lomo Anamorphic T2.4, PL-mount 75mm Lomo Anamorphic T2.4, PL-mount All lenses are optically and mechanically in perfect condition, no scratches, no fungus, have stainless PL-mounts and focus gear rings ARRI standard 32 pitch. The lenses were recently serviced and are ready for shooting. Also included: Peli case, ARRI Lens Support LS-7, front and rear caps. Price: $35,000 Contact: c.lang@langfilms.de
  12. Friends, I am shooting a drama with half of film inside a house and half on road. I am using Sony F65 with ultraprime lenses. I was toying with the idea of shooting the outdoor portion of the film which consists of Landspcapes (road journey) & in car with Anamorphic lenses. What should I keep in mind when am doing car interiors(Dialogues) with anamorphic. We will be shooting some scenes taking the car on low loader and some on a Green Screen. As regards with Green Screen panoramic background plates, am still wondering if it should be shot anamrophic or I will be good with Canon 5D Mark2 cameras rigged on a car as done in 24. Any insight, experience would be really helpful. Cheers!
  13. Just a test: No HD sorry,but it´s just to see the atmosphere can get with this little camera. Too much wide,I´ll have to crop the sides,it´s a little bit ironic,but you know..I like this look. Testing night,flares (not just the blue streak,looking more for the halos in highlights ), pull focus....I got the way to do double focus,now I can rack focus with anamorphic..I´m happy! I need another spherical lens for my square front Lomo,the Lumix 20/1.7 looks cool,very sharp for anamorphic,but all f****ing electronics,no way to know focal length. The last (cat) shot is done with a 30/1.4 full open. The idea is get a similar look to a 40mm anamorphic of 35mm.
  14. Hi there, Does anyone know how Alexis Zabe did the flare effect in "Stellet Licht"? Thanks
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