hyalinejim
Well-known member
Uh-oh!
I hope you're having us on!
I hope you're having us on!
Is the Iscorama worth it? Dispelling the myth... or "Let's Shoot it out!"
- Thread starter fates
- Start date
Jean Dodge
Active member
Usual questions.... which Isocrama are we looking at here, and what generation thereof? There seem to be at least "early and late" models of these. We need to start a FAQ of some kind.
What is the ISO and f stop, and what kind of flashlight is it - spot or flood, quartz what kind of bulb? Slightly off kilter flare again. Looks pretty sharp, I'll say that! What's the step up ring situation with the canon 85mm 1.8 and how does it feel? Could the flare's orientation be a result of lens droop// misaligment? Thanks for posting. That 85mm seeems like a good lens to match with... fast and sharp. Wish I could see the same street shot w only the 85mm to compare the performance of the anamorphic to the spherical.
I'm waiting on stepup rings to try my Iscorama 42 with some MF nikkor primes. In the meantime I did shoot one other quick shot yesterday in the 5 minutes the sun came out here at the end of the day, and for whatever reason my flares were level this time. It would seem to be an alignment thing of one lens or the other. People were suggesting it has more to do with the Spherical lens but I wonder how that could be. Any theories of your own?
For lack of a better term the "star trek" flare that extends horizontally as a streak seems to be a function of the slant glass, but maybe it has to come in at a certain angle the corresponds to the tilt of the internal slanted elements to really be prominent. I'd like to see a fresnel lens like a 1k "baby" tilted down, on a tall stand lowered through the frame at various degrees of tilt. Also, lights that cross the frame and approach the edges of the field of view are likely to strike the lens at angles where the light has to bend more to resolve to the film plane.
You test shows a light entering the lens at a right angle, but what about a light that strikes the SLANTED lens at a right angle? is that part of the equation? Cheers.... good stuff to see for those who are exploring this sort of shooting.
What is the ISO and f stop, and what kind of flashlight is it - spot or flood, quartz what kind of bulb? Slightly off kilter flare again. Looks pretty sharp, I'll say that! What's the step up ring situation with the canon 85mm 1.8 and how does it feel? Could the flare's orientation be a result of lens droop// misaligment? Thanks for posting. That 85mm seeems like a good lens to match with... fast and sharp. Wish I could see the same street shot w only the 85mm to compare the performance of the anamorphic to the spherical.
I'm waiting on stepup rings to try my Iscorama 42 with some MF nikkor primes. In the meantime I did shoot one other quick shot yesterday in the 5 minutes the sun came out here at the end of the day, and for whatever reason my flares were level this time. It would seem to be an alignment thing of one lens or the other. People were suggesting it has more to do with the Spherical lens but I wonder how that could be. Any theories of your own?
For lack of a better term the "star trek" flare that extends horizontally as a streak seems to be a function of the slant glass, but maybe it has to come in at a certain angle the corresponds to the tilt of the internal slanted elements to really be prominent. I'd like to see a fresnel lens like a 1k "baby" tilted down, on a tall stand lowered through the frame at various degrees of tilt. Also, lights that cross the frame and approach the edges of the field of view are likely to strike the lens at angles where the light has to bend more to resolve to the film plane.
You test shows a light entering the lens at a right angle, but what about a light that strikes the SLANTED lens at a right angle? is that part of the equation? Cheers.... good stuff to see for those who are exploring this sort of shooting.
Jean Dodge
Active member
It's foggy because you were supposed to eat something before you drank that stuff. Down here in south tejas, we like to mix it with lime juice and eat it with some BBQ jackalope for full effect.
I tried the jackelope with lime juice and it DID help! I tried some chupacabra frito with some lechuga on the side also and thankfully it's not foggy anymore.Thanks hyalinejim! Fates was trying to KILL my investment with his wisdom but INDEED...all is safe and sound....and ready for a new lens on the camera side.
I just tried to attach it to my 50mm f2....alas....the flang is to deep.
No problem, I'm looking at some tube extenders. I would really like to find any many solutions as possible (lenses/adapters) to see if it would be possible to shoot an entire film (short) with this thing....Jean Dodge
Active member
mmmmmm... chubacabra frito.... (drool)
You are not alone in trying to figure out the best combinations for various Iscoramas. I suggest you get some hong kong or other cheapo UV filters in the popular size for the lenses you want to try for use as spacers - and just remove the glass... with a hammer. And some tequila.
I'm guessing from the chatter here that with luck and grit and guidence you can find something like a 50mm, an 85mm and a 105mm and 135mm which would give you plenty of range to shoot a short film with. If you needed a really wide shot, shoot spherical and fake it by cropping. i won't snitch on you.
Not having the right rings yet for my older isco 42, it does seem like the MF nikkors are going to be good. Can't say for certain just yet tho. Others have confirmed various lenses.... we need to consolidate a FAQ somehow. I'm not experienced at that but maybe just a wikipedia entry to start?
If you were going to crop the aspect ratio from 16:9 stretched by a factor of 1.5 to something more like traditional cinemascope, you could eliminate/ tolerate some side vignetting I guess. So Finding a 40mm, or a 45mm lens might be possible if you got really lucky but so far no one I have seen has managed to find one wider than a 50mm, but remember that gives you the horizontal field of view of around 35mm.
I've heard talk of people wanting to try enlarger lenses since they are small.. although I don't know what that is supposed to ge you other than the ability to keep the lens short.
You are not alone in trying to figure out the best combinations for various Iscoramas. I suggest you get some hong kong or other cheapo UV filters in the popular size for the lenses you want to try for use as spacers - and just remove the glass... with a hammer. And some tequila.
I'm guessing from the chatter here that with luck and grit and guidence you can find something like a 50mm, an 85mm and a 105mm and 135mm which would give you plenty of range to shoot a short film with. If you needed a really wide shot, shoot spherical and fake it by cropping. i won't snitch on you.
Not having the right rings yet for my older isco 42, it does seem like the MF nikkors are going to be good. Can't say for certain just yet tho. Others have confirmed various lenses.... we need to consolidate a FAQ somehow. I'm not experienced at that but maybe just a wikipedia entry to start?
If you were going to crop the aspect ratio from 16:9 stretched by a factor of 1.5 to something more like traditional cinemascope, you could eliminate/ tolerate some side vignetting I guess. So Finding a 40mm, or a 45mm lens might be possible if you got really lucky but so far no one I have seen has managed to find one wider than a 50mm, but remember that gives you the horizontal field of view of around 35mm.
I've heard talk of people wanting to try enlarger lenses since they are small.. although I don't know what that is supposed to ge you other than the ability to keep the lens short.
I'm Mormon, so I don't drink alcohol....maybe some punch with green jello will work?
How about these spacers? (Not the one that connects to the camera, but the other ones...)
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=250464398689&ssPageName=STRK:MEWAX:IT
hyalinejim
Well-known member
If you want to try other focal lengths, I'm using my Isco 36 on a Vega 12B 90mm 2.8 with a 58mm to 49mm step down ring and hoping to use it on a Tair 11A 135mm 2.8 (a 55mm to 49mm step down ring in this case is too slim, but with one more [55 to 52, 52 to 49] should do the trick).
antiochuswilson
Member
how do you lock the alighment?
any here's a longer version with a different lens on the back lecia 90mm with modifed lecia adaptor, to get the flare more horizontal, but i didn't aligh it spot on .
http://vimeo.com/6874513
It's morining here now, maybe i try to get some sun flares
nice flares from HAWKS -
http://www.youtube.com/watch?v=JuakVga2Kco
any here's a longer version with a different lens on the back lecia 90mm with modifed lecia adaptor, to get the flare more horizontal, but i didn't aligh it spot on .
http://vimeo.com/6874513
It's morining here now, maybe i try to get some sun flares
nice flares from HAWKS -
http://www.youtube.com/watch?v=JuakVga2Kco
Last edited:
Pirata
Well-known member
It's set on private
Jean Dodge
Active member
Once again the leica video is set to "private." Which nikkor? AF or MF? f 1.8 or F 1.4? etc. Same question on the leica. Thanks. It helps to know the details in case someone wants to buy/ borrow/ try something similar.
I tried to shoot some more sun flares today with my Iscorama 42 but every time the sun poked out it seemed I was driving in the car.
The good news is that I did take delivery of my series IX (series nine) 0.5 close up diopter, and it seems like it's going to work out quite well once I get the right step up ring. All week I have been trying to make it to Harbor freight to buy a cheap caliper ruler... busy week, still haven't made it. I'm paying for my negligence when I end up not ordering the right step up rings.
To those who are just joining this thread, the Iscos and many other anamorphics for that matter, like the sankors aren't able to focus closer than about six feet, and so close up diopters are needed. These are slight magnification lenses that allow a lens to focus close, but you almost always lose the ability to focus to infinity once you employ one. The front element of many Iscorama models are fairly large, and so the diopters are expensive. Plus 1, 2 and 4 are easier to find than the half power ones and so that's one more item that can add to the scarcity factor. I found a series nine one used and it wasn't expensive, but I consider myself lucky.
Sankor/singers have 52mm front elements, which is nice. Diopters are cheap and plentiful at that diameter.
I tried to shoot some more sun flares today with my Iscorama 42 but every time the sun poked out it seemed I was driving in the car.
The good news is that I did take delivery of my series IX (series nine) 0.5 close up diopter, and it seems like it's going to work out quite well once I get the right step up ring. All week I have been trying to make it to Harbor freight to buy a cheap caliper ruler... busy week, still haven't made it. I'm paying for my negligence when I end up not ordering the right step up rings.
To those who are just joining this thread, the Iscos and many other anamorphics for that matter, like the sankors aren't able to focus closer than about six feet, and so close up diopters are needed. These are slight magnification lenses that allow a lens to focus close, but you almost always lose the ability to focus to infinity once you employ one. The front element of many Iscorama models are fairly large, and so the diopters are expensive. Plus 1, 2 and 4 are easier to find than the half power ones and so that's one more item that can add to the scarcity factor. I found a series nine one used and it wasn't expensive, but I consider myself lucky.
Sankor/singers have 52mm front elements, which is nice. Diopters are cheap and plentiful at that diameter.
here's the video flare test
ok here is the link
http://www.youtube.com/watch?v=KSJuDzWfd0Q
Apologises for the music - CAMERA obscura - RAzzale Dazzle Rose.
Once I get the diopters, can't wait to try out some Tonino delli Colli style framing in the Sergio Leone films. going super wide and cutting to a really tight frame. The tensions within the frames are incredible.
The other film I really adore the look and mood of, is picnic at hanging rock
Which have some really nice flares in it, which I reckon Sophia Coppalla emulated in look and narrative for
The Virgin Suicides
http://www.youtube.com/watch?v=aCm7K9j6O00&feature=related
ok here is the link
http://www.youtube.com/watch?v=KSJuDzWfd0Q
Apologises for the music - CAMERA obscura - RAzzale Dazzle Rose.
Once I get the diopters, can't wait to try out some Tonino delli Colli style framing in the Sergio Leone films. going super wide and cutting to a really tight frame. The tensions within the frames are incredible.
The other film I really adore the look and mood of, is picnic at hanging rock
Which have some really nice flares in it, which I reckon Sophia Coppalla emulated in look and narrative for
The Virgin Suicides
http://www.youtube.com/watch?v=aCm7K9j6O00&feature=related
Last edited:
Jean Dodge
Active member
keep on mind many spaghetti westerns are not anamorphic, they were two-perf spherical lens films. I think they called it techniscope. It saved film stock, too since less was used per frame.
You are going to need a split-field diopter to get shots like that one of Bronson and Fonda. And you are going to need an actor who doesn't squint with a carbon arc Brute aimed right at his face! But yeah, deep focus stuff is great. That shot is probably f/22, or like I said a split field diopter but I dont see the line....
Try watching BORDER INCIDENT for some great compositions in depth. That's by director Anthony Mann working with John ALton, the man who wrote the book PAINTING WITH LIGHT. A real master. Also Joseph Von Sternberg does great things in deeply designed sets.
You are going to need a split-field diopter to get shots like that one of Bronson and Fonda. And you are going to need an actor who doesn't squint with a carbon arc Brute aimed right at his face! But yeah, deep focus stuff is great. That shot is probably f/22, or like I said a split field diopter but I dont see the line....
Try watching BORDER INCIDENT for some great compositions in depth. That's by director Anthony Mann working with John ALton, the man who wrote the book PAINTING WITH LIGHT. A real master. Also Joseph Von Sternberg does great things in deeply designed sets.
rogar-Kriz(DBG): but I can assure you it was Leone picking the compositions. That man knew exactly what he wanted out of a frame of film with each and every shot. All of his westerns were shot on 2-perf 35mm.Hey guys, I did a VERY informal flare test with the AG-LA7200. Pardon the crudity of the video.
It wasn't properly mounted (I ordered the wrong step ring :embarasse ) so the rig was placed in a static position on the kitchen table.
This was shot with a Nikon 50mm 1.8 @ f 4.0, ISO 1250, converted to 1920 x 1080 Prores, dropped into a 1280 x 544 timeline and then squeezed to fit the frame. (Which unfortunately took 2-3 minutes to render, I'll have to figure out a better workflow... it shouldn't require a render).
I haven't seen lens flares of this caliber from other panasonic adapters, maybe I got lucky with a good copy? Anyway, more to come when it's properly mounted. (step ring should arrive on Monday/Tuesday).
PASSWORD IS "anamorphic"
http://vimeo.com/6877744
-Andrei
It wasn't properly mounted (I ordered the wrong step ring :embarasse ) so the rig was placed in a static position on the kitchen table.
This was shot with a Nikon 50mm 1.8 @ f 4.0, ISO 1250, converted to 1920 x 1080 Prores, dropped into a 1280 x 544 timeline and then squeezed to fit the frame. (Which unfortunately took 2-3 minutes to render, I'll have to figure out a better workflow... it shouldn't require a render).
I haven't seen lens flares of this caliber from other panasonic adapters, maybe I got lucky with a good copy? Anyway, more to come when it's properly mounted. (step ring should arrive on Monday/Tuesday).
PASSWORD IS "anamorphic"
http://vimeo.com/6877744
-Andrei
squig
Veteran
filmmaker's gang
Carbonite Member
that was your 1st shot w/? :thumbsup:
seems now this is the new hype.. anamorphic = flares
you're not shooter if you do not offer your flares