I have a listing for an ag-la7200 anamorphic adapter, which has NEVER been used. I found this in a broadcast equipment shop, new in box. Had to take it out of the box to check condition and snap a pic, but otherwise brand new. The auction has no reserve, starts at $499, go nuts!

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 fourth : day four july the 11th, 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

The other days are here :

HERE IS SOME ROUGH EDIT of my project Womanhattan 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

I've been studying Filmmaking for a year and a half now in Colombia and just recently bought a camera (A GH2). My lens collection is almost non existent, with only the 14-42 kit lens and an old Canon FD 50mm 1.8 ridden with fongus, and I'd like to start one.

Because of the look and overall feeling (Also, very rare in the indie/0 budget short film scene in my country) I'd like to go the anamorphic route. However, it is downright impossible to get an anamorphic lens here, so I don't have the chance to try one and then decide if I like it. I have to make those decisions online.

What I'd like to ask is what combinations of taking lens+Anamorphic has given you people the best results?

My two options right now are: Getting an SLR Magic Hyperprime 35mm T0.95 lens now and, after I get my savings account back in shape from that heavy blow, get an anarphic lens to use with it.

Or, getting one of the Dog Schidt lenses - https://www.facebook.com/DogSchidtOptiks?fref=ts -, which are much cheaper and have loads of character AND an anamorphic lens (With clamps, diopters and such)

Anyway, if there's already a thread like this, feel free to close this one up.

Thank you, guys.

ardeche anamorphic 2013 from Michal Wowczuk on Vimeo.

see you friends

I don't have a good way to mount them yet but I will get something made soon. I shot this video the same day I got the lenses so the rig was hacked together. The big surprise was the image quality, it's really good...... I don't have anything to compare to it, but it looks better then anything I have seen, maybe better then ISCO's. It will only work with lenses 50mm or higher, I think on super 35 sized sensors it will vignette but works well with m43. It will focus at 1.7 meters without a doppler and still looks good with a large aperture.

I shot this with a Zeiss ZF 50mm f/1.4, and even wide open at 1.4 I had some usable stuff at f2. It looked awesome. The downside with using projector lenses it that you need to focus them with your prime lenses. The way that the Cinelux will focus is with a allen wrench, which is not ideal. Still working on the workflow so this vid is a little sloppy. Shot this with AVCHD.

I shot it all on GH2 with @Driftwood Moon Trial 5. I used a Kowa 16-H with Redstan clamps and a Lightcraft Workshop Fader ND Mark II, mounted on a Konica Hexanon 40mm f1.8, usually stopped down to f2.8 or even f4.

This is the first, and has certain things that make it very successful in terms of capturing my concept for the project. But technically, I think I prefer the second film even though it is simpler in some ways.

I hope you enjoy it, and I hope it is of some use. Feedback and questions are of course welcome! (Note: I'm going to go ahead and post this, but Vimeo might initially be still in the process of converting the clip.)

Anamorphic hypergonar bernoird 16mm S.T.O.P. includes a clamp adapter to 55mm screw-thread (for dSLR lenses with 55mm filter size, such as Carl zeiss, and other vintage brands)

Rear part has some minor scratches (not noticable on screen) also there are some minor coating marks. front is in good condition.

Focus ring is smooth, but needs to be checked, Minimum focus distance is 1 meter

Example video we shot with GH2 + this adapter:

Note that this was shot full open

Asking price 750$ excluding shipping ship worldwide :)!

This is the original 1968 single coated version.

I am willing to sell it for $x,xxx.xx cash meetup at a local NYC bank or trade for some 8mm anamorphics + cash on your end. I'd also consider a deal for a 35mm OCT-19 LOMO squarefront in mint shape.

Thanks for your time.

here is just an idea, maybe is doable, maybe not, i dont know...

there are ANAMORPHIC PRISMs that are selled for laser beams, they are made of optic glass, and they are as small as to fit inside an adapter this one is only 12mm http://www.ebay.com/itm/230966479114

they work under the following concept:

http://www.zuggsoft.com/theater/prism.htm

so, the question is if they mess too much with the optics and if they are big enough to reach all the light rays?? any thoughts?

There isn't a lot of NLE specific information out there on how to properly un-squeeze, and Voldemort's ebook was a starting point for the math that lead to the above solution. There are some assumptions about sharpness and the way one un-stretches that seem a bit quirky or hard to follow, however.

All of my grabs and little vimeo tests and things up this point have been done that way and I am happy with the results. However I'm soon going to be starting the edit on a little feature, and due to my geographic location I have a pretty solid chance of some manner of theatrical projection and I want to start from the ground up with that in mind in the edit.

A couple of days ago I tried what I thought might be a more 'proper' workflow, which was to run GH2 files through 5D2RGB and then through compressor changing the pixel aspect ratio to 1.333. The result was a clip that looked correct, but when I put it in FCPX, I noticed it was slightly taller than my previous efforts. It matched other clips only if I changed their vertical scale to 80 instead of 76. At this height, however, neither match the 'widescreen' button from the plugins, which I take to be a guide for 2.39:1.

I'm wondering which is 'correct' and/or what am I doing wrong, in every case. Obviously, slight variations in squeeze may pass essentially unnoticed, but there must be a 'proper' mathematically correct process for this.

I also at some point of course need to come up to 2k resolution to meet the DCP standard. It's not a huge jump but I'm wondering if I should incorporate that into my initial workflow as well. There were some posts on the BMC forum recently about uprezzing to 4k that were quite illuminating, it seems that the method and amount of color information can play a big role in how well this is accomplished. I've uprezed GH2 frames to 4k in photoshop with pretty good results so honestly I'm not too worried about the jump from 1920 to 2048. Still, I don't know if FCPX is enough, or Compressor might be better, and/or if both the un-squeeze and up-res can be accomplished at once?

Right now I'm looking at:

1.) High quality intra hacked .mts files into 5D2RGB, outputting ProRess 422HQ (unless we think for my later purposes 444 would be better?)

2.) Where to go from here, for un-squeeze and up-res?

Any help would be greatly appreciated. I believe the anamorphic part of the equation should have a more definitive answer than the net seems to provide.

see IMDB "Jobs" Page

*(from IMDB): The story of Steve Jobs' ascension from college dropout into one of the most revered creative entrepreneurs of the 20th century.

Hear American Cinematographer's Podcast (45 min, 84 MB) interview with cinematographer Russell Carpenter, and director Joshua Michael Stern about the Alexa, decisions to abandon anamorphic, to go ProRes, how to get that "gauzy, filmlike look", the importance of location - and so on..

from ASC:

American Cinematographer's Jim Hemphill talks with cinematographer Russell Carpenter, ASC and director Joshua Michael Stern about the film, Jobs, which explores the life and career of Apple founder Steve Jobs. Working with the budget of an independent film, they created three unique looks to capture the feel of different eras in Job's life, but were careful never to go 'over the top.'

Read about other films being made and listen to more ASC podcasts at http://www.theasc.com/ac_magazine/podcasts.php

The lens looks good but there are minor internal dust and light marks on the lens as expected for a lens of this age. I am getting a Panasonic LA7200 so this lens needs to go.

SOLD

The article is in Padua Italy http://www.subito.it/fotografia/sankor-anamorphic-16-c-eccezionale-pari-al-nuovo-padova-56384183.htm?last=1&spoint=ar

GH2 Sedna AQ1 Nikkor 50mm 1.8 Ais and 105mm 2.5 Ai + Sankor 16c anamorphic

I am open to trades at the moment for other spherical/anamorphic lenses and/or cameras.

Added a couple quick photos via cell phone to show the Pelican case too.

Email or message me if interested.

Thanks!

Is there such a thing? I don't think so, or at least I could not find it.

Do you think that something like that would be practical and useful for anamorphic shooting?

Someone here tried to make guerrilla anamorphic adapter, a loupe would be easier to build and perhaps even to sell.

Just an idea :)

i am a bit confused. I bought a "16:9 widescreen lens" glass and everything looks anamorphic, picture is stretched too. After playing around with the footage and VLC i recognised, that my footage with (i've used the Anamorphic LPowell Flowmotion Hack) 1920x810 looks stretched here an example:

A few days later i checkt on a "square note" paper and saw, that the image is streched. I endet up with 2.21:1 with 1920x868 resolution. Is that right or am i doing something wrong?

Thank you and best regards Emin

The camera somehow got in an interlaced mode for some of these clips, that or I had some hack settings wrong. I almost threw all these clips out, but I'm glad I didn't. I think it actually adds to the look and feel of the video in a strange way.

As always, I love all feedback!