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Domi

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    kowa anamorphic

    in Super-8

    Posted

    Hi, I thought I'd interject some information regarding use of the KOWA 16-H/8-Z lens, since I have shot quite a bit using this lens in both still and movie formats. Hopefully this will shed some useful light on the topic.

     

    ---> The KOWA 16-H(8-Z) 2x compression anamorphic lens can produce extremely sharp and wonderful images, both for motion picture use and still photography. As with any optical system, observing the limitations and careful use will produce the best results. Yes, you'd think that adding on another set of optical surfaces to your main imaging lens would degrade the image, but that's not true in practice when you consider that TWICE the amount of visual information is being compressed into the horizontal axis. Care of use isn't any more than maintaining correct focus, and of course shading of the lens, just as one would with any compound lens such as large zooms.

     

    ---> But keep in mind here.....that 2x compression will yield a 2.66:1 aspect ratio, which is much too wide for HDTV which is 1.66:1. A 1.5x anamorphic would yield a closer working aspect ratio, if you prefer to have a full HD screen image, with less cropping. Otherwise, you're going to end up with a "letterbox" effect, even in the HD format! Unless the wider aspect ratio is preferred for the subject matter being filmed.

     

    ---> Anamorphic lenses have their drawbacks, and the most obvious one is that there is a practical focal length "cut-off" point for the backing or main lens. With the KOWA 16-H, {depending on what type of main/prime lens to A-lens separation you have due to step-up/down rings}, the widest focal length you can use on most Super 8mm cameras is somewhere around 15mm. This will translate into a practical effective focal length of about 7.5mm wide angle on the horizontal axis. So you will still be gaining more than you would if the prime lens were at 15mm in shooting at 1.33:1 ratio (4:3). For most short range zoom Super 8mm cameras, those with zooms up to about 5x/6x, the usable wide end range will fall somewhere in the 15mm to 20mm range.

     

    ---> Using large zoom Super 8mm cameras, such as the BEAULIEU Schneider 6mm-66mm or NIZO S-800(etc) the useable range will fall somewhere around 40mm, owing to their lens construction. An exception here is using the earlier 8mm-64mm F/1.9 Angenieux lens, which is small and will work better with the KOWA 16-H lens. But, for shooting in Widescreen for telephoto only or super telephoto, this works fine.

     

    ---> The best way to support the anamorphic lens (A-lens for short) is via a professional type compendium type adapter such as one made some years ago by Animex in Europe, and by EWA, or the fine rigs made by Les Rechter in Australia (member of the AWA - Australian Widescreen Association), and also the "lollipop" type adapters made by various companies and individuals and those easy to use ones made by the WIDESCREEN Centre in England (especially their former Custome Mount and Custome Mount Deluxe units). In all these attachments, the full weight of the A-lens is supported by the bracket, which is nominally attached to the camera's tripod socket via a Base Block with a bolt, or on some cameras supported from the top via an optional socket made or intended for optional movie lights or microphones (e.g. NIZO 6056/6080 and similar cameras). The main advantage to using any of these units, especially an easy to use and design lollipop holder, is that the A-lens is fixed in the correct orientation and you won't have to reset it again after focusing, as with Filter Thread only type Adapters. There will occasionally be some slight tweeking necessary depending how you're using the setup. I have an add-on Filter Attachment for the front of my KOWA 16-H (and a vendor on eBay also is selling these recently), allowing for use of 72mm Filters and addon lenes. I also find that using 52mm filters in between the camera's zoom lens and the A-lens works great also; e.g. using my SANKYO XL-620 Supertronic camera (and others).

     

    ---> One potentially frustrating aspect in using the KOWA initially is that BOTH the Prime/Main lens AND the A-lens must be focused. At first this can be bothersome...but only to those that just want to shoot wildly with minimal preparation. It can be done pretty quickly; as you approximate the distance setting first on the A-lens, then zoom in with your Prime Lens and focus critcally, noting the distance and then fine tune the A-lens, either visually or via the distance scale or both. With some practice, it works quite well. Using fixed focus cameras, such as the CHINON Pocket-8, QUARZ Super 8 with zoom lens removed and others, you only need to adjust focus on the A-lens. I suppose it might even be possible on some setups to fit a focus synch rod to adjust both lenses at the same time; but they would have to have similar scale range movements for this to work.

     

    ---> Single lens focusing simplicity was one of the main advantages of the ISCORAMA 1.5x compression lenses, as you can leave the Prime/Main lens set to Infinity, and just focus the A-lens. Mind you, this applies only to the true ISCORAMA System lenses, as they did make some others that don't work this way. One of later ones that comes to mind is the ISCORAMA 54 (that big fat HUGE lens) and some others. Another easy way is using any of the monoblock type design lenses which do not focus, such as the HYPERGONAR 8 which is a 1.75x CinemaScope lens (many have used this to insert into films shot in 1.5x and 2x compression since it's a middle A-lens format). And there are many other smaller and earlier 1.5x lenses such as the YaschicaScope, ElmoScope, KinoScope etc. KOWA also made lenses similar to the 16-H under other names, yet the practical application is virtually the same: Sankor, Bell & Howell, Eiki are some names it was badged with. Aside from some small physical differences, they are the same lens.

     

    ---> Lastly, while a bit cheeky, A-lenses also have been used for nightmare sequences and other hallucinagenic effects whereby the lens is rotated around or side to side for an unbalancing effect. Hunting down the adapters these days is a bit more difficult, but they are often in the hands of many older filmmakers, and can be found in for sale sections of club magazines, or sometimes simply via a request from any of the websites for cine clubs to ask members if they have any to sell. If not, it means getting a machine shop to custom make something up for you, and this can be expensive.

     

    ---> Finally, to see a full 2.66:1 Anamorphic Super 8mm film projected is just amazing! I have had some of my films projected on 24ft wide and 28ft wide screens using ELMO GS-1200 projectors, both Xenon and Halogen versions, just breathtaking. I also have seen an excellent full length war epic shot in Regular 8mm CinemaScope using a BOLEX P-4 or similar camera, all done with sound in post, complete with costumed armies and aerial filming.....truly remarkable work. The technical limitations of the formats notwithstanding, it's all in the storytelling, the cinematic expression of the dream and ideas that makes the film.

     

    There's more I could go into, but this is long enough to read thru,

    best regards, Martin Baumgarten

     

     

    We all agree, buying an ISCO is now insane. What about the HYPERGONAR?

     

    Any Cons and Pros from experts in the house?

     

    /Do

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