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Showing results for tags 'Anamorphic'.
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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 -
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
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For anyone interested in seeing the process http://vimeo.com/109564209
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AnamorphX and Alexa Open Gate a great combo?
Freya Black posted a topic in Lenses & Lens Accessories
Really interesting possibility for the AnamorphX with Alexa Open Gate mode. Wish I could try it out: http://www.redsharknews.com/technology/item/1779-letus-anamorphx-adaptor-could-be-the-perfect-match-for-the-alexa Freya -
Hi. I'm selling my Kowa Prominar 16D Anamorphic Lens. It's in fantastic shape. $599 Free Expedited Shipping. Ebay Listing: http://www.ebay.com/itm/181397691897 -
Some camera,CC,storytelling...test for a short movie. It´s just a sketch from the opening scene. The CGI is a little bit poor. I hope some day make the entire film. Shot with BM Pocket and Lomo anamorphic.
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Has anyone out there tested the ARRI Alexa XT's Open Gate mode (1.55:1) on 2x Anamorphic Lenses verses a Dragon at (3:2) with Ana's for close to a 3:1 output ratio with cropping? Or even just the two against each other at all. I cant find anything online at all. Any thoughts on this would be appreciated. Cheers! Karl Janisse
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Selling my used LOMO Anamorphic zoom 35OPF18-1A 20-120mm with anamorphic adapter (back) which makes it a 40-240mm T3.4 anamorphic monster. Its one of the last Lomo Zooms and higly regarded as one of the best. It can match the Lomo roundfronts primes.. Used but glass is clean and zoom and focus is smooth. Will be shipped in wooden box. Its still in original OCT-19 mount but can be made into PL or use an adapter RED, Micro 4/3, Sony and others are available.. I can send pic´s if interested. My price 2000 euros Located in Sweden read more about it here http://www.cinematography.com/index.php?showtopic=36871 -
Hello all, Long time reader, first-time poster. I'm gearing up to shoot a student short during the first two weeks of June and we have been looking high and low for a set of anamorphic lenses to shoot with. I was wondering if anyone here has any leads on anamorphic lens owners in the New York City area? I am already aware of the various rental houses that have lenses, but we're also trying to reach out to some private owners/DP's who might have anamorphic sets and would be willing to rent them out. Looking for something a little more vintage, along the lines of: Lomos, Kowas, Cooke Xtal, or anything of the sort. Appreciate any and all recommendations! Thanks.
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Some stock tests that might be of interest for yet another short film I'm shooting. I shot Kodak 5230 and 5219, with G and B series Anamorphics with both flashing and pull processing. http://stephenmurphydop.blogspot.co.uk/2014/02/abdullah-stock-tests.html
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I'm throwing ideas out because I'm interested in shooting 2.39 with standard 16mm film, which would thus require 2x Anamorphic Lenses with a 1.19 Frame on a standard 16mm strip, specifically this means fitting the largest 1.19:1 rectangle possible on 16mm, single perf or double, whichever gives more room efficiently without compromising steady feed. 1. Is it possible? 2. Who could manufacture such a film? 3. What would it cost? Thanks for reading this madness. -Steven
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An interview I conducted for my blog with cinematographer Seamus Tierney about his work on the film In a World. Shot on RED Epic with Hawk C-series anamorphic lenses. Here's the link if anyone wants to check it out - http://bit.ly/1f7temj. -
This was a bit of a shock: http://www.redsharknews.com/production/item/1374-a-gopro-anamorphic-lens-adaptor-for-$199 Freya
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Hey all, Selling my amazing 1014 Max 8mm cam with tons of accessories way below the $2995 list price. www.ebay.com/itm/261373903953?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Also, an anamorphic adaptor for lenses under 52mm thread size www.ebay.com/itm/261373920695?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 No reserves, just moving on. Feel free to ask questions through eBay. -
Hi, I'm a 25 year old DP in Glasgow, Scotland. I've just shot my first anamorphic short film for the 48 hour film project. I tried out some new lighting gear I'd never used: a polecat, super clamps, loads of 300W and 150W fresnels, and a 4x4 kino. I was also learning how to focus the anamorphic adapter on the job. Luckily I had a fast learning 1st AC! We won an award for best digital effects, but unfortunately no real feedback on the production otherwise - so I wanted to get some feedback on the cinematography in general. Just looking for constructive criticism if you've got some. Be brutal. http://player.vimeo.com/video/80835548 Thanks for your time. Much appreciated, - Darren -
Hi everyone I've recently installed Davinci Resolve 9 and I'm hitting a wall. I have footage filmed in 5k anamorphic on 2x anamorphic lenses that I've uploaded to Davinci Resolve 9. In the program I've changed the settings from "square pixel" to "cinemascope", which desqueezes the footage in Resolve. However, when I go to export the footage as Proress 422 HQ it still appears unsqueezed. I'm up for all suggestions at the moment. Thanks, BG -
Hi everyone I've recently installed Davinci Resolve 9 and I'm hitting a wall. I have footage filmed in 5k anamorphic on 2x anamorphic lenses that I've uploaded to Davinci Resolve 9. In the program I've changed the settings from "square pixel" to "cinemascope", which desqueezes the footage in Resolve. However, when I go to export the footage as Proress 422 HQ it still appears unsqueezed. I'm up for all suggestions at the moment. Thanks, BG
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https://vimeo.com/70679379 The majority of this music promo was shot on an Arri Alexa 4:3 in 2K ProRes using Panavisions C-series and G-series Anamorphic primes with some additional photography shot on a RED MX with Panavisions Xtal Express Anamorphic primes. The main visual references the director and I discussed were photographer Gregory Crewdson's work and the films of Wes Anderson (shot by Robert Yeoman) so we were trying to achieve a surreal atmosphere with a vibrant colour palette. For the main location I used Lee Medium Blue Green gel on most of my background sources (a combination of daylight balanced kinoflos and smaller HMI cinepars) while keeping the keylight neutral (usually a combination of tungsten jemballs warmed slightly on the dimmer). I kept the camera at 3200K and 800asa and the stop was usually a T4. I hung 2 x jemballs w/500w bulbs above the table and skirted them to contain the spill. Opposite camera there was a Kinoflo Flathead hanging just above the frame that worked as a backlight for the lead actress, and this was supplemented with additional Flatheads on the floor as 3/4 backlight where necessary. Depending on our angle of view I'd use smaller Cinepars and 4x4 kinos bounced into the ceiling to add some colour to the background. For a flicker effect I had 2 x redheads running through a a flicker box and pushing through a frame of Muslin and for the sweeping spotlight I used a source 4. For the shot of the girl looking at herself in her bedroom mirror at night I used a single 4ft x 4tube kino just outside the window to key her and used a 575w HMI Cinepar with a spot bulb sitting on the floor just outside the window to add a slash of moonlight across the floor. A handheld HMI pocket par sat just out of frame right to flare the lens. For the warmer coloured scenes inside the dance rehearsal studio at night I used the Xtal express lenses for a softer, more dreamlike feeling and kept the shooting stop at T2.8 which enhanced the softer aberrations of the lenses and made a nice contrast between the C&G series. A pair of 2k's and another pair of VNSP parcans, all gelled with CTS, pushed through the window to work as a backlight and I used the ambience from the room as fill. For close ups I supplemented the light with some smaller Kinos again with tungsten tubes and CTS. There's a couple of lighting plots below (designed in the Lighting Designer App - can't recommend this highly enough!) and a few BTS photos from the unit stills that give you a sense of the lighting rig in the main location. Theres also a brief clip showing the Dolly/Lighting Rig we used for one of the shots here https://vimeo.com/71200843
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Hi! i was wondering, why it is not possible to shoot witch anamorphic lenses in native 3D (or why no movie was shot that way as of yet)? In a older statement by J.J. Abrams, i read that "you can't shoot anamorphic in 3D". I have no idea if this is true, so excuse me if this question is silly. That is the article And then i found this article from last year, about Cameron/Pace and Vantage GmbH (makers of Hawk lenses), developing a "anamorphic 3d les-system" together. CLICK MEEEE ...Not that i would plan to shoot that way, i haven't touched a proper camera in years. Just out of couriositiy THanx in advance to everyone. cheers, ChRiS
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I'm currently in pre-production on a feature film titled 'In Paradise.' It is about a man whose interest in quantum mechanics and the metaphysical drives him into a dangerous obsession. We shot a short mockumentary-style introduction to the film recently. The trailer was shot with an NEX-5n, but the film itself will be shot with either a C300 or a RED Scarlet, probably the latter depending on some logistical considerations. We're shooting with anamorphic lenses, something that I'm relatively new to but have enjoyed thus far. Thanks for watching! -
Has any one used these anamorphic lenses, if you have what do you think of them the image and which do you like the best. thanks for all your help Nippon scope Cineovsions MK1 Kowa pl set 40,50,75,100mm
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Hey, We're beginning to grade a film shot with Hawk V-Lite 1.3x anamorphic lenses. The online guy and I are trying to to figure out the exact amount to unsqueeze. It seems impossible to find any information from hawk. It is as simple as 75% on the Y? Matt
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Hello everyone, We are planning to shoot a very low budget feature film this summer and I have some questions on the camera set we will use and I hope you can help me on some of the following: 1. The 16:9 sensor on the GH2 + a 2x anamorphic adapter produces a final stretched anamorphic aspect of 3.55. Which would result in (1920x1080)*(2)= 3840x1080. Instead of doing the decompression from 2x, I want to interpret the shot as if pixels would be 1.333 or 1.4587. I know it keeps the image still a little deform but I think I like the look. Whats your technical and/or creative take on it? (SEE IMAGES BELOW) 2. We would project it on standard 2k (2048×1080) DCP cinemas and the final cut would fit into it with a 2048x858 (2.39:1) size movie. Am I right? or does it work in another way? 3. I am currently using Sedna AQ1 for max detail against anamorphic softening against big screen projection. Do you think it will hold enough? Would you sharpen in post? Whats you recommend any other hack? Given this 3 points which would be your opinion on this process? Have any of you seen any gh2 anamorphic content projected in 2k dcp? How does it stand? Thanks for your help! P.D. Anyone selling a Kowa 16-h (8z) In order not to be so limited with the 16D in lens minimum mm´s? -
Hi, I have a couple of questions for our next (student) short we will be shooting in the first half of April. At first we wanted to go 16mm (anamorphic), but it's quiet expensive for us. And wide angle anamorphic is a problem with 16mm. We're still thinking about it though. But it's probably going to be the digital way. Now the short is about half and half daylight and nighttime. Probably a bit more at daylight. We're thinking about renting a Red-epic since it's a lot cheaper (than an Alexa). But I'm a bit "scared" for the nighttime shots with the epic. We will be passing neon street lights, in car shots which can get pretty dark, etc. What do you think? Will it be ok? Second question is about post production. We love the (16mm) celluloid organic look, and specially for this film. We were wondering how this is professionally emulated/achieved. Are there a couple of ways? I add professionally since we were thinking about festivals etc. (I read somewhere that adding a random grainy look is okay for youtube videos but not for more serious stuff.) Thanks ahead, -
Hi, does anybody know if 35mm x2 anamorphic primes can be used with the Ikonoskop. Like the Lomo PL- anamorphic prime lenses for example? I know I'll need to pillar box. x1.33 or x1.5 hawk anamorphics aren't easily found in my country.
