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Showing results for tags 'Spherical'.
For sale this 19.5-95 zoom lens with not one single blemish or scratch on the body and some minor imperceptible rubs on front element. This lens just came from Angenieux where it got overhauled to their absolute specs. Save $15k+ from new. In LA, covers Arri's Open Gate. Comes with Heden bracket, case and 3 different size posts for lens support. Some important points; Zoom Ratio: 4.7X Focal Length: 19.5 - 94 mm Aperture f/2.4 – T2.6 Close Focus: 2 ft - 0.5 in – 0.62 m Internal Focus: Yes Image Coverage: S35+: 31.4 mm diagonal Weight (approx.):
For quick sale are a set of OCT 19 Primes 35mm, 50mm, and 75mm Easy to adapt to Sony E mount and PL mount - overall good condition but well used. The 35mm lenses has a weird spot inside the rear section. It does not seem to affect the image. Details: https://www.ebay.com/itm/123403500934
Hello Had queried about use of spherical as well as anamorphic lenses for a diploma film project in a different forum. Now I have decided to shoot the film in both the formats - flat as well as scope. If I shoot 1.33 spherically and 2.35 on anamorphic, then the negative will be scanned to 2048 x 1536 (10bit dpx) in both cases, if i am using the universal gate on Arri 535B (4perf). Now how will the project be finished to final 2K DCP post grade if the film contains both the flat as well the scope material. Also due to Kowa Prominars not being in perfect condition, we might
Friends, I am shooting a drama with half of film inside a house and half on road. I am using Sony F65 with ultraprime lenses. I was toying with the idea of shooting the outdoor portion of the film which consists of Landspcapes (road journey) & in car with Anamorphic lenses. What should I keep in mind when am doing car interiors(Dialogues) with anamorphic. We will be shooting some scenes taking the car on low loader and some on a Green Screen. As regards with Green Screen panoramic background plates, am still wondering if it should be shot anamrophic or I will be good with Cano