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Showing results for tags 'anamorphic'.
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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! -
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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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 -
Hi Guys, does anyone have experience with shoting Sony FS7 + anamorphic lenses? Is it doable technicly- I mean like a desqueeze option in the menu, or is it done in a difrent way? I have a choice to shot a project with Alexa and prime lenses, but I woud rather go for a cheaper camera with S log and use more expensive anamorphic lenses for their look. Thanks for any advices
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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? -
So there's this particular type of lens flare that I've been meaning to try to recreate without having to use post-production editing (all in camera). While we all have a general idea of what one of the more common generic anamorphic lens flares look like (basically has the two long horizontal star points along with varying degrees of elements depending on the camera and lenses, but this one has always been the most appealing. You may have seen it from some movies mostly in the 70's and 80's. To give you an idea, I've myself have seen it in Dirty Harry (1971), Magnum Force (1973), Aliens (1986), Jurassic Park (1993), Encounters With The Third Kind (1977), Blade Runner (1982), and the first Star Trek: The Motion Picture (1979). While it is generated from numerous light sources, including direct and reflected sunlight, it is often mostly associated with flash lights/torches (I've often called it the flashlight flare, though it may already have been pre-established as something else). While I will provide some example photos, its general shape is round with bright center (obviously) and with a thick outer rim that is colored, sometimes having various number and size of star points which i'm guessing is determined by the lenses aperture and number of blades. But the most dominating feature is a colorful ring around the whole flare (the whole thing often takes on an orange/reddish color when associated with flashlights). I'll leave a link to a mediafire folder containing the pics. If it doesn't work I'll embed a few in the page. I also have included a video recorded on my iphone of a similar flare but not exactly the same. Anyone have any idea how this particular flare is made? https://www.mediafire.com/folder/3asu9mdrur73u/lens_flare also if you can access the mediafire, I've also included a still from E.T. The Extra Terrestrial that is a shot of what im guessing is a certain area/suburb of Los Angeles, to which I've noticed is quite a common view used in many movies and I've reason to believe it is a common tourist site. Anyone know what that view/spot is?
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Hi everybody! From my general understanding usually for 35mm lenses the sweet spot of the lens is usually 2 stops down from the widest aperture. I wanted to know if anamorphic lenses have the same features or where the sweet spot of the lens usually is. Thanks in advance!
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I’m not sure if this was posted here or if it’s of interest to anyone, but I’ll give it a try: http://www.broadcastingcable.com/thewire/cooke-optics-teases-specifications-second-new-anamorphici-zoom-lens-nab-2016/155584 Could I ask what is the “Cooke look”? How can it be described? -
I’m not sure if this was posted here or if it’s of interest to anyone, but I’ll give it a try: http://www.broadcastingcable.com/thewire/cooke-optics-teases-specifications-second-new-anamorphici-zoom-lens-nab-2016/155584 Could I ask what is the “Cooke look”? How can it be described?
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Does anyone know if using anamorphic lenses on S16mm was common before the release of the Hawk V-Lite16 lenses? I'm looking to shoot a project on these lenses soon and am hoping to use an Aaton XTR, just wondering if it will be easy to find an anamorphic viewfinder attachment for the camera. Or if it would be better to go with a SR camera. A 416 seems to be out of the question for now due to budget reasons. I believe this camera shares the viewfinder design with the SR cameras anyway. (the 416 I used just had SR ground glass in it.) Alternatively what other (if any) Anamorphic 16mm lenses are available in Los Angeles. - M
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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 with smooth aperture and focus operation. All have stainless PL-mounts, and focus gear rings. No scratches, no fungus, The lenses are ready for shooting. Also included: 2 Cases, front and rear caps. New York City checkout can be arranged. Price: $25,000.00 Contact woftam@erols.com
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I am selling Lomo anamorphic viewfinder for Konvas camera. Works perfect, glass is clean, no scratches, no fundus. Price 130USD(120Eu) + shipping 35USD (25Eu). email: martinsacha7@gmail.com
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I am selling famous Russian round anamorphic lens 35mm/2,2 35BAC-27-1 ser.870025 made in 1987 PL mount, iris and focus gears. Can be changed to black colour. glass is glean, no fungus, iris clean. more pictures: http://picsurge.com/g/hF1oxN Price is 7400USD + shipping 100USD. Located in Prague.
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For sale: LOMO anamorphic BAS23-2 75 mm f2.3 round front lens, Pl mount, ARRI rings 0.8 for focus and aperture, lens clean and clear, LIKE NEW! Lens adjustmentment by service spbsale.com and ready to shoot. Very smooch focus and aperture, clean and clear, no fungus, no durst incide, no scratchers. Included two lens caps: front and rear. S/N: 810026 Price: 8000 USD (worldwide shipping included) email: schubert@ngs.ru -
Saw this and thought I would share: http://www.telegraph.co.uk/finance/newsbysector/mediatechnologyandtelecoms/media/12082238/British-production-firms-spend-big-on-vintage-lenses-to-profit-from-period-drama-boom.html -
Hello, I study Cinematography at the DHB in Berlin and I’m currently writing my Bachelor Thesis about Anamorphic Lenses. I’m focusing on the special Look which they create and it’s effect on fictional films, in particular the film „Ex Machina“, which is an example for shooting with anamorphic lenses on a digital Camera in my Bachelor Thesis. I was wondering if you could answer a couple of questions due to the fact that there is not a lot of quality literature available. There is an attached questionnaire. It would be really helpful if you could answer me these questions, in order to get the most accurate information about anamorphic lenses to write my Thesis. I'm looking for people with experience in working with anamorphic lenses, not necessarily manufacturers (even though this would be pretty good) There are two Questionnaires attached, one for users and one for manufactioners (just in case...) It would be a huge help to get some more information for my Thesis! Thanks a lot in advance and let me know if you have any questions. Fragebogen Anamorphoten_USERAnwender.pdf Fragebogen Anamorphoten_MANUFACTURERSHersteller.pdf
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Hi guys, hope I caught the right space to ask this info.. I was wondering if somebody knows wich anamorphic lens is best suited for my Nikon D5200. I'm looking for a 1.9x - 2.0x sqeeze, cheap one if possible. I found this model on ebay: http://www.ebay.co.uk/itm/Schneider-ES-Cinelux-Anamophic-2x-MC-35mm-cinelux-2-0-67-5-UK-SELLER-/201480808707?hash=item2ee9312903:g:gkAAAOSwI-BWICri Is this one ok? Do I just need some clamps to attach it? Thanks, Ale
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Bridge Of Spies Trailer IMDB Link http://www.imdb.com/title/tt3682448/ "During the Cold War, an American lawyer is recruited to defend an arrested Soviet spy in court, and then help the CIA facilitate an exchange of the spy for the Soviet captured American U2 spy plane pilot, Francis Gary Powers." Director Steven Spielberg Cinematographer Janusz Kaminski Written by the Coen Brothers and Matt Charman, Spielberg brings us a great movie where he shows, again, the reasons why he is one of the greatest storytellers nowadays. The first act of the movie could be considered a little bit slow in the way that it is kind of vague but once the movie enters the second act, it finds the flow. I personally think that the whole movie is perfect as I like "lawyers" movies a lot and it reminded me a bit of "Zodiac", directed by David Fincher in its tone. The actors are absolutely great as in every single movie that Spielberg has directed and Kaminski shines completely through Tom Hanks' journey. Regarding Bridge Of Spies' cinematography, I have to say that some moments in the movie were very similar to "J. Edgard", photographed by Tom Stern and as I enjoyed that movie loads, it was something extra to add to the visual enjoyment! :) Ah! I almost forgot, the Hawks have not been used as well as Kaminski used them in this movie ever. Amazing use of the wide lenses in some moments. It was a pity not to see David Devlin's name on the credits though! :) Have a good day. -
Hey guys, Just wanted to see if anyone's shot on the Cooke Crystal (Xtal) Express anamorphics before. Considering them for an upcoming job. It's between them and the Cineovisions. I've used the Cineovisions before and had a great experience with them, but was thinking about trying these crystals out. Panavision has a few more focal lengths available as opposed to their cineovision package which is a plus because this is a multicam gig. Thanks! Appreciate the help -Ben J
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Todd OA... Who has experience shooting on the Todd OA T2.3 Anamorphic set for the big screen? Alexa 4:3 Arri Raw I would love more deteiled opinions about these lenses. Western style feature film shot mostly in day exterior.. Anybody? Thanks, Lennert Hillege NSC
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So I'm pretty new to 16mm stuff, I've gradually been making the switch from digital. It's been pretty fun. Right now I'm using a Bolex as my A-Cam and two old Keystones as my crash cams. Yeah, I'm working on filling the gap between those two, but that's not the point. One thing that I've given up since making the switch was my anamorphic lenses. I love them to pieces, they're just awesome. However, I've had trouble finding a conclusive solution for a c mount anamorphic lens. It's kind of frustrating, and I was wondering what my options realistically are. I've heard several different ideas on this forum, one of which is using projector lenses. I've never really had to do that, so would that be a good option? I don't know that I've encountered much projection glass well-suited for shooting, but maybe I just haven't seen enough. I would really like to stay away from anamorphic adapters. I guess if that's the best option then I can use them, but I've always stuck to the real thing. Last thing, cost is a big factor here. I'm a big fan of quality glass, but I don't use these cameras enough to drop a lot of money on one lens. So if that means I should just get a lens adapter and use some cheap anamorphic glass for a different mount, I can do that. I just want to know what my options are for an adapter-less setup, if that's even possible. Thanks much!
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Hi everyone, i am in pre-production for the short film we will be shooting in Caucasus mountains this winter. We are shooting 35mm 5222 black and white film, and i want to get Hawk anamorphic lenses with 2x squeeze from Paris. The camera they have in a local rental is Arri 435 Xtreme (4 perf). I'm in touch with the local AC and what he says is that the camera doesn't have an anamorphic viewfinder, also it does not have anamorphic matte glass and arri glow. I'm trying to figure out how to solve this issue, maybe somebody can help me out? If the lens squeezes the image into 4:3 academy frame - then what should be the matte glass/ground glass/ gate installed inside of the camera? And if it doesn't have an anamorphic viewfinder (we are shooting steadicam anyway) - can i get an unsqueezed image on the monitor and playback just through the monitor? I would appreciate any tips and help. Thanks -
I am playing around with anamorphic adapters, and obviously am limited by what sort of taking lenses I can use. I wanted to use a Zeiss 35mm but found it vignetted very slightly, so I moved up to a 50mm. This is on a GH4 with a Speedbooster, so fairly fairly close to simulating a Super35 sensor. Also shooting 4:3. For Super 35, ~35mm-ish seems like a standard for a "normal" fov on spherical and 50mm seems a bit tight, better for close-ups (imo). But since the 2X anamorphic stretches the horizontal focal length, I am a little unsure of what should be a go-to focal length for anamorphic. I myself usually compose based on the vertical size of the frame, which doesn't change, but obviously I wouldn't want so much more negative horizontal space so I'd probably move backwards to compensate. I don't have many other great primes that will take the anamorphic adapter, so I am trying to avoid too much trial and error by seeing what others think.
