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Showing results for tags 'anamorphic'.
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Hi there, I believe that this is probably something that has been discussed before. But I hope there are some new things that can be brought up with this question. I have an upcoming project in the fall, and the director and I have decided that we want to have the anamorphic look for a short we will be making. Now the flares are not the most important thing, but rather the vast image that we are going for. The problem is how to achieve it. First idea would be to use my own S16 Eclair ACL, with an PL adapter, and we were considering renting pure 1.33x anamorphics. But as far as I know, the only ones to rent at the Hawk's, and they would cost us pretty much the complete production budget to get a set. Second idea we had is to use a R16 Arriflex SR and put Kowa 2x on it. The real issue here would just be the wider shots, since we basically loose all the width in the image. Third idea is to invest in a Panasonic AG-LA7200 adapter, with a 0.25 diopter, and use B4 lenses on the ACL to get the image we are going for. I also have a person that can make a M4/3 adapter for the ACL, so any M4/3 solution would work as well, but honestly I am open to any ideas you might have. And yes, both me and director are 100% set on shooting on film stock. C
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For sale is a gorgeous Ekran Anamorphic Zoom lens, 40-120mm F2.5 T3.1 35mm format with PL-mount (model number 35OPF19-1A, serial number 850003). http://www.ebay.com/itm/Ekran-Anamorphic-Zoom-40-120mm-F2-5-T3-1-PL-mount-35OPF19-1A-Russian-35mm-Lens-/182554997311
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One-of-a-kind Anamorphic or Spherical Angenieux 25-250 Zoom Lens with compact zoom motor, hand held zoom-speed controller, cables, bracket, and custom case. Excellent condition. $6950 Dan Sasaki at Panavision rebuilt and rehoused this Angenieux 25-250 HP. He added a special low dispersion front element coated with Panavision's anti-reflection coating, and a 119mm Front Filter thread. He improved the mechanics with smoother movement of the barrel and standard focus gearing at the rear of the lens. He fitted the lens with a compact Panavision Zoom motor, which can be removed, and a Panavision/Shiga glass rear 2x Anamorphic capsule that can be added with five hex bolts so the lens can be used as either anamorphic or spherical. The Anamorphic capsule alone is worth more than the entire package. This package is priced to sell fast at $6950. The lens is fitted with a removable PV mount, but a stainless steel PL flange from Zeiss, Century, or MTF Services can easily bolt on. The Anamorphic capsule; however, has a fixed PV mount and would require an adapter or remounted. I have a stainless steel PV to Canon mount that Ken Stone made which can be included in the package for an extra $450. *If purchased before May 8th 2017, I can hand deliver this to Panavision in Woodland Hills for pick-up. If purchased after May 8th, the lens will be shipped from Europe and the buyer covers shipping, insurance, and customs clearance. for images: https://drive.google.com/file/d/0B0NSXBkbH4f2OXpwYjBOTXp3Q28/view?usp=sharing https://drive.google.com/file/d/0B0NSXBkbH4f2Y2EzWkVRNzEwRjg/view?usp=sharing https://drive.google.com/file/d/0B0NSXBkbH4f2VV9jOTk4OTZadlk/view?usp=sharing -
$750 Or Best Offer. If you own an Arri 3C and want to shoot anamorphic, this is something you'll want. You can shoot spherical, or flip a switch and the optics will desqueeze the anamorphic image so you don't have to frame up your image with everyone looking skinny. A very rare door, unique to the 3C, so certainly nice to have if you ever want to shoot anamorphic on this camera. Thanks, Rich
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I'm filming a short comedy musical in about a month using an alexa mini + zeiss ultra primes ....this is for broadcast television and we're shooting 4k ...my director likes the idea of changing aspect ratios in real time...for instance: we are on a close up of some performer in 16:9 and all of a sudden they break into a song and the aspect ratio changes in front of our eyes to 2.39:1 ...here are some questions I have: -has anyone done something like this? if so what are the challenges for pulling this off? -in your opinion how can this blend with camera movements? for example pushing in/ pulling back on a dolly and changing from 16:9 to 2.35:1 ... thanks in advance!
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interested in buying 35mm, 75 and 100mmm round front anamorphic lenses. prefer EUrope but any offers welcome. with any mount, clean lens. klimpar@vonkuttenberg.com or +420777174155 (imessage works as well) -
looking for anamorphic KOWA 35BS Lens --- full set including 40mm or 50mm, 75mm and 100mm singles. preferably EUrope, but those rares are worth to travel around globe :) klimpar@vonkuttenberg.com or PM, +420777174155 (imessage as well)
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Kinor 35H (9KCH-M2) - Russian Professional 35mm Movie Camera Set Most of you probably know the story of the Kinor. This unit is in perfect working order. It has been well maintained and upgraded. The upgrades electric rewiring to work with standard XLR plugs, rewiring of the interior electronics, adding a video tap, adding a BNCR mount. The camera has been and is regularly serviced by a qualified technician. The buyer will receive a fully working, colimated kit that will be serviced by the technician prior to the sale. The camera has worked on quite a few gigs recently, but as we own another 35mm kit, the time has come to sell as we can't justify two kits. So this isn't your typical Russian "I don't know if it works kit", but a much loved and well maintained unit. PM me with any questions. Here is a link to the ebay auction: http://www.ebay.com/itm/Kinor-35H-35mm-Movie-Camera-/182497662948?hash=item2a7db557e4:g:pygAAOSw2gxY0QPB During the '84 Los Angeles Olympics the Soviets were boycotting the games, but they sent camera crews. Moviecam Super America cameras were being used there by American crews. It was the first time those cameras had ever been seen by the public. Right in the middle of the games one of them vanished. They were $200,000 cameras. The missing camera was never found. A couple of years later the Soviets introduced the Kinor 35H, which certainly seemed to be inspired by the Moviecam. Though they never admitted to the theft, most people suspect that the Soviet crew stole the Super America and reverse-engineered it. This particular unit was bought from Cannon Films and the word is that it was used on various movies produced by them in the Menahem Golan and Yoram Globus era, including Delta Force 2: The Colombian Connection, Ninja Trilogy and Cyborg amongst others. The camera comes fully kitted and modified to modern standards. It has two lens mounts - BNCR & OCT-19, is manufactured of sync sound (-32db), comes with a B&W CCD video assist has updated power inputs for XLR use and updated reg pins for use with Kodak Negative. It is fully working, tested, and in excellent condition. The camera has been well maintained and serviced throughout the years. It comes with everything that you may need for setting up for hand held and studio work. The set includes an Anton Bauer charger and one XLR battery. Everything in the photos is included. The camera comes in 5 original metal cases. The camera is a great model to adapt to two perf for shooting Techniscope 2.35 with spherical lenses. SPECIFICATIONS LENS MOUNT: BNCR & OCT-19 SHUTTER: Rotating Mirror - 180 degrees FRAME RATES: 8-32 fps in .1 fps increments w/speed control; crystal 24 & 25fps MOVEMENT: Single pulldown claw and single registration pin FORMAT: 35mm; 1.66, 1.33 ground glasses; modified 1.78 SOUND LEVEL: 24-32db depending on speed WEIGHT: Hand-held: 28lbs w/500ft. magazine and prime lens MAGAZINES: 2 x 500' (150m) and 2 x 1000' (300m) w/built-in torque takeup motor system MAGAZINE MOUNTING: Rear of camera; lowered/raised positions, depending on mode Camera comes with a magazine wedge MAG DRIVE: All electronic via multipin interface FINDER: Short for handheld - fully orientable; projection from camera side is adjustable Long for tripod mount fully orientable; projection from camera side is adjustable FOLLOW FOCUS: Single knob on camera for handheld Double knob on base plate rods for tripod mount BASE PLATE + RODS: Fully sliding dovetail; quick release SIDE RODS: On camera mounting; swing away MATTEBOX: The matte box is the only piece on the camera that could be considered dated. However it does serve it’s purpose and comes with sunshades for lenses from 28 to 100. It is a swing-away model with filter trays accommodating 4x4” and 4x5.65" filters HAND HELD: Handle with remote control cable POWER: 14-21 volts dc Anton Bauer charger with battery CASE: 5 original metal cases
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LOMO Anamorphic Round Front 50 & 75 Just fully serviced by Focus Optics $23,000 for the pair or $11,500 each Lori Carson carson.lori61@gmail.com
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RED WEAPON WITH HAWK C-SERIES: THE NEW MEETS THE VINTAGE. This week I would like to share one of my last experiences on set where I got the chance to use a cinema camera and a set of lenses for the first time. On one side, and I don’t exactly know why, it was an incredible long time since I used for the last time a RED camera and I didn’t had tried yet the “new” (even though there is already a newer model out there called Raven) 6K Weapon; plus, I did had seen the Hawk C-Series, but just in rental houses promotional meetings, and we all know that an actual set is a totally different environment. THE CAMERA Truth is that from quiet a few points of view I was gratefully surprised by the camera, since comparing to the RED Dragon it features severals tools that, if you want my two cents, are a consistent improvement, both in the operation of the camera as a 1AC and the performance of the camera itself. First of all... More information: http://www.camaleonrental.com/gb/blog/red-weapon-with-hawk-c-series-the-new-meets-the-vintage-n14
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Hello. I am shooting with a sony vx1000 prosumer camcorder in it's native 4:3 aspect ratio and I was wondering what my options we're for using an anamorphic lens (producing a 16:9 image). The filter diameter is 52mm. Appreciate any insight! Thank you! - Hunter
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Hi Everyone, I am a beginner Director of Photography and I'm still learning the camera side to things as a DOP. I'm much stronger on the lighting side than the camera side and need a little advise. I'm shooting a science-fiction story in the near future and I've done some research on lens and how to sell the Sci-fi look, and the thing that keeps popping up is Anamorphic lens. I have little understanding of how Anamorphic lenses work and will be shooting this project on the Sony F3 - From what I've gathered the chip sensor can't do Anamorphic with out a converter lens, but I heard those lessen the quality and aren't the same as the real deal. I've been watching a ton of interviews of cinematographers and they say to go with a wide Anamorphic lens and shoot everything crisp - even my professors say the same. So my question is, what is a great alternative option to a Anamorphic lens for the Sony F3? P.s. The lenses that come with the Camera from the school's rental house is a set of prime lenes (35mm, 50mm, 85mm) and Zeiss CP.2 Lenes (18mm, 25mm, 35mm, 50mm, 85mm). We are allowed to go to other rental houses but the budget is limited to around $1500 (not confirmed yet, but roughly around that). P.s.s. Also - last note - any additional tips on shooting and lighting Science-Fiction would be much appreciated. All the best.
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Cooke Anamorphic Lens Set 25-32-40-50-75-100&135mm Mint Condition Just Serviced Email sales@broadcastsolutions for pricing and details. SALE PENDING
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Coming out in March 2017, directed by Jordan Vogt-Roberts (The Kings Of Summer) and shot by Larry Fong, Kong: Skull Island is NOT a remake, it takes place during the 70's, and involves a scientific expedition to an uncharted island awakening titanic forces of nature, a mission of discovery becomes an explosive war between monster & man. A-list cast on board, including John Goodman, Samuel L. Jackson, Brie Larson, Tom Hiddleston, Shea Wigham, Corey Hawkins, John C. Reilly, John Ortiz, etc, etc. First trailer from Comic Con, a few months back: QT 1080p link: http://pdl.warnerbros.com/wbol/ww/movies/kongsdcc/KONG_TRAILER_1-1080.mov Second trailer out today, with a slightly different tone: QT 1080p link: https://dl.dropboxusercontent.com/u/64705418/k2/KONG_SKULL_ISLAND_TRAILER_3-1080.mov Shot on the Alexa anamorphically, looks like Panavision lenses to me, C-series or E I'd say. Gotta say, Fong always does great work on film, but I've never seen the Alexa look this good, the texture is quite nice, I wonder if they added some grain, it's also really vibrant & beautiful. -
Check out this video on Matthew Duclos and why vintage lenses are so popular in today's modern cinematography era.
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We are selling our personal sets of LOMO Anamorphic Lenses 35,50,75,100,150 LOMO Anamorphic Round Front, just fully serviced by Focus Optics Burbank $56,000 50 & 75 LOMO Anamorphic Round Front, just fully serviced by Focus Optics Burbank $18,000 for the pair email me carson.lori61@gmail.com
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Selling two of my lens sets, Im owner, not broker. please PM if interested, we can deal by a broker if need. cooke s4/i 14/18/21/25/27/32/40/50/65/75/100/135/180 USD 198k or a little more using broker hawk C 40/50/75/100 USD 92.5k or a little more using broker thats it =) best Gabriel
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Hi all I was wondering is it possible to use a lens doubler on anamorphic lenses? If so is it the same kind used for spherical lenses or are there specific doublers for anamorphics? Thanks
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I wanted to get your opinions on my reel. I respect this community SO VERY much! -
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 be sourcing Hawk C Series lenses from the rental. Can the members reflect on the look and image qualities regarding the same lenses. Will be shooting the spherical portion on Zeiss High Speed Lenses. Thank You Regards Shashank Walia Class of 2011 Film and Television Institute of India -
Kowa Prominar
Shashank P Walia posted a topic in Students, New Filmmakers, Film Schools and Programs
As mentioned in an earlier list, I am about to shoot my final diploma film. We are in a process of finalizing the visual form of the film and using anamorphic lenses is one of the ideas. We have Kowa Prominar lenses available at the institute which got serviced yesterday. With few students along I took few shots just to see how they are performing post servicing. Although I intend to shoot my diploma film on 35mm Film, these few shots were taken on an Arri Alexa XT. Prores HQ. Rec 709. In available light. ND filters were used in exterior shots. It is not a test but I would like to have a feedback on it from the members, not only with respect to technical elements like distortion and flaring but also using these lenses and format as an aesthetic choice. Would be sharing detailed test on film as well as digital soon. Regards Shashank Walia Class of 2011 Cinematography www.ftiindia.com -
Ideal condition. Very rare lens . It is easy to pass a PL lens mount . The lens in Moscow . I can send . 4500$
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I'll be shooting a short soon and we're planning on using a Red Dragon at 6K with a set of Hawk C-Series anamorphics. I'm aware that, due to the aspect of the Dragon sensor, the resulting field of view using any given lens will be narrower than if it were shot with a 4:3 sensor such as on the Alexa. The widest focal length in the C-Series is 40mm, which on the Alexa would produce an image with a roughly equivalent FOV that a 20mm spherical might on Super 35. My question is, roughly how wide would the 40mm anamorphic appear when using the Dragon? I'm trying to work out if the 40mm will be wide enough for my needs. The reasons for choosing Dragon is for maximum resolution, given that it's a vfx heavy sci-fi. Would it be better to shoot on Alexa for maximum FOV? Or try using a set of diopters?!
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I'm focus pulling on a short film this week. We are shooting on the Alexa Mini with 2x Kowa Anamorphic lenses. I've worked with anamorphic on a fair few jobs in the past, however I haven't always had the luxury of a prep day. On this short film I have an evening of prep before principle photography begins. I was wondering if I could get some advice on the kind of things I should prep/look out for when shooting on vintage anamorphics? I'll do the obvious and check the accuracy of focal distances to start with. As far as i'm aware each lens will cast a slightly different colour tint onto the image, how can I test this and compensate during shooting? We are also going to be using diopters for a few close-up shots in the short film. Any advice on pulling with diopters in front of the lens? Is there an algorithm that can be used to figure out focal distances for different diopter levels? Or is it recommended that I just rely on a monitor for these shots? -
The Neon Demon "When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has." Trailer Imdb Link http://www.imdb.com/title/tt1974419/ Director Nicolas Winding Refn Cinematographer Natasha Braier Probably the most beautiful looking and imaginative movie that Nicolas Winding Refn has shot ever. Go and see it whenever is available on your local cinema because it really is a sensorial experience. That's all I can say until somebody watches it! :) Have a good day.
