@kellar42

This was from the v2 uncoated prototype

This was from the v3 uncoated prototype

The version volunteers will be receiving is the final coated version. In other words it will be the pre-production versions. Packaging is not final and there will be no instruction manual. Both of these will be worked on during the volunteer testing period.

We recommend those who want to look for more results should not join the volunteer program and wait for the official release version in 2014.

@slrmagic the best way to see results is to test things in person! I just meant if I'm not part of the program I look forward to seeing what comes out of it.

Thanks @BurnetRhoades!

Oh, nice!

I know that Hoya makes a set that big, in both multi-coated and non-multicoated. Not doublets though. You'll read smack talk about them but a lot of that comes from stills photographers who are reacting to other, mostly novice photographers I expect, using these instead of proper portrait or macro lenses and expecting the same quality. I take a lot of that talk with a grain of sand because our application and requirements aren't the same and we tend to work at stops and shutters that serious stills photographers avoid anyhow.

That's great that you see another market or concern that isn't really being served by other manufacturers like you recognized with your anamorphic adapter.

Knowing the Tokina was rather special, as an achromat/doublet, I found a list of other doublets and these seem to be more common at very large powers once you find options in the 72mm+ sizes:

http://fuzzcraft.com/achromats.html

...I was put down this path after seeing a series of stills published by the Scandinavian production house Riot Unit who, with a 1.33X adapter and a +2 diopter created some very convincing close-ups. These were criticized by some as being soft and with an exaggerated falloff in focus from the tip of someone's nose rearward but I wasn't moved by their criticism. They felt pleasing enough, were shot on an NEX which isn't as sharp as the GH2 and it's unknown what, if any, post processing was done. The look is well within cinematic precedent and as stills from motion it's how the footage plays in context that's important, not some arbitrary expectation of similar performance to whatever projector monstrosity they might be myopically in love with.

Based on the smallish aperture capabilities of the zoom lens used by Riot Unit (nikkor 35-70mm f/3.3-5.6) coupled with the assumption they'd be at the longer end of the zoom for the CUs I theorized they were using a technique like Harris Savides employed in Zodiac to achieve cinematic close-ups with the tiny sensor Viper camera, focusing in front of the subject with depth fading off. I'm confident I was completely wrong now.

Before making an investment in the more expensive, multi-coated offerings I got a cheap set to see the strengths at focal lengths I'd likely use with the GH2 and a 1.33x to work out a generalized system of lens + diopter combinations for the kind of shots that could use their bokeh enhanced.

Even a +1 has an amazingly pronounced effect (compared to the Tokina, which has negligible effect on bokeh, in terms of oval enhancement) on every lens that I tested with my GH2. It worked great to create/restore ovals for distant out-of-focus highlights but I could get nothing at all in focus more than a few feet away from the lens. Perfect for some CU focus situations but forget racking focus from someone close-up to infinity.

I was able to still achieve a very convincing, decidedly anamorphic defocus (though not as extreme) with a shorter focal length, large aperture and the close up diopter. This bought me several more feet of usable focus distance and I'm anxious to test this out for a Medium situation. The +1 on a 50mm lens, on the GH2, might not allow enough range of focus for an over-the-shoulder 2-Shot but I'm pretty confident I can get something to work maybe at 35mm or 24/25mm opened up with the diopter. It just needs some experimentation.

It's very cool that you guys are looking into these sorts of issues and I'm sure everyone who has been unable to locate a reasonably priced, or available, Tokina doublet (+0.4) will be thankful for your work. I haven't made a real investment yet, beyond the Tokina, since the Vivitar set I got was like $13 to experiment, so I look forward to your new products as an integrated solution.

China/ U.K. relations after 1997 ( according to It's the Great Pumpkin Charlie Brown!)

China & U.K.: Trick or Treat!!!

China: Ooh! I got a shiny new... Hong Kong! All sparkling with blinkety nice gadgets and stuff!

U.K. : I got a rock! ( Falkland Islands)

Made in Japan used to be a joke, but that changed...

At what stop was this footage though. That's the catch with both the LA7200 and the Century Optics adapter. At what stop can you get sharp, or even usable focus on a given taking lens, prior to adding diopters? That's not a fixed relationship.

There's no information on how this was shot. I know I haven't ever seen LA7200 footage near this sharp that wasn't A) stopped down and/or B) using a very rare diopter. They should be comparing adapter to adapter, like SLR Magic, comparing the base quality that shooters have to work with.

Taking a guess here, I'd be curious to see footage this sharp from an LA7200 at f/2.8 or thereabouts, with just a taking lens and the adapter. If that's what this is from Letus.

Man, those Sony cameras have really video looking highlights at clipping. And the Letus coating is very underwhelming. The flare is so suppressed it begs the question, "why bother?"

Yeah, the image itself has to answer the question of why you would use the adapter versus crop. Even the Century Optics delivers on that. It's borderline too suppressed as well, but it would have given more of a feel in all of the scenarios seen here (as would the SLR Magic prototypes) with all those lights facing the lens.

When that ferry pulls up, with all those bare bulbs there was nothing going on. No indication really that we're looking at anything but cropped footage. So instead of taking in an overall effect or aesthetic at play I was free to look at all the the artifacts around where the window frames cross the lights and how the sensor is handling the light fixtures in a very bad way. There was a lot of detail, sure, but I clicked play because I thought I was gonna see some anamorphic eye candy.

It's not until about 2:10 that we even see the first proof (knowing the filters to fake it tend to err on the obvious side).

It was. It looked like a sensor thing to me but it's hard to tell through compression.

"The new SLR Magic anamorphic lens now has an official title and price.

Dubbed “ANAMORPHOT 1,33X 50″ – it will cost $799 for the anamorphic adapter.

Official retail sales don’t start until next year but early adopters can get the lens as soon as November this year.

http://www.personal-view.com/talks/discussion/8372/slr-magic-anamorphot-133x-50-#Item_17

@BurnetRhoades We are not sure how others use diopters for their anamorphic lens but +1.7 gives the best anamorphic ovals on the SLR Magic Anamorphot. +2 is a bit too close focus. Our NEAR focus mode allows for nearer focusing similar to +0.4 focus range. However, ovals look much neater with the diopter compared to our convenient NEAR focus mode.

Diopters can be staked so +0.4 and +1.3 will give +1.7. +0.4 and +1.3 alone will give added flexibility.

show us the money shots provide some proof this is not a century single element design. better than an isco 54 some folks are smokin crack : ) 6 element german v 2 single elements from asia.

f1.8 f2.8 without achromat pictures are needed. racist for pointing out china lack of original ideas. slr should give hot burning burnet a free kit for his gay fan boy ways.

i have designed a brand new +0.25 from the ground up has slr done that or just done a copy of tokina japan. this new anamorphic single element design does have a good price and really will be super but keep it real. test footages on sunny days at f8 donte show and tell nuttin. edited by vitali to put a nice positive marketing spin on things.

I'm confused....more videos for the Letus slipped out without me seeing them, and the results seem straight-up soft in many instances, for something supposedly unique for its sharpness. Of course shooting on a 7D was a strange idea, but still...this isn't what I was expecting:

Via nofilmschool.com/2013/10/letus-anamorphic-adapter-anamorphx-widescreen-flare-footage/

HELLO plasmasmp could you please post more samples or videos? thans