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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

anamorphic lenses take 2

Anything is possible... depends on how deep your pockets are. If you were JJ you would get your own sensor designed.

It should be straightforward to design and build an anamorphic adapter with the appropriate distortion to correct for the sensor mismatch either for using a spherical lens or an anamorphic lens but it isn't going to be cheap, probably makes more sense shooting on film in this case.

M
 
Martin said:
It should be straightforward to design and build an anamorphic adapter with the appropriate distortion to correct for the sensor mismatch either for using a spherical lens or an anamorphic lens but it isn't going to be cheap, probably makes more sense shooting on film in this case.
Click to expand...

It's also not going to be great for your optical path either...

The D20, whilst it has a high MP count sensor, scales output down to remove any artifacts from the colour filter array, so even with the crop you'll get more pixels with the Red than the Arri.

That said, the D20 will have sub-sampled pixels with full colour sampling and (presumably at least) less aliasing etc (i.e. all the advantages of sub-sampling pixels from a larger array), so it's not an apples-for-apples comparison.

But just FYI...
 
Martin said:
But of course that is only possible because it has pixels to spare. When you crop on the Red you will be doing the same thing if you shoot 4k and your end target is 2K or 1080p

M
Click to expand...

Hi Martin,

Not quite the Viper is 27.6 megapixel to start with! ( 3 x 9,200,00)

Stephen
 
Martin said:
Anything is possible... depends on how deep your pockets are. If you were JJ you would get your own sensor designed.

M
Click to expand...

Heh, I met him a couple of weeks ago :)

It should be straightforward to design and build an anamorphic adapter with the appropriate distortion to correct for the sensor mismatch either for using a spherical lens or an anamorphic lens but it isn't going to be cheap, probably makes more sense shooting on film in this case.
Click to expand...

I'm pretty well sold on the all-digital workflow though... Won't miss dealing with stock/development and waiting for dailies... and grading can be all-digital too...

If red has a "good enough" colour/contrast ratio, and produces purrdy pictures, being able to shoot in scope is really the only barrier left as far as I'm concerned... though it's not a deal breaker or anything...
 
Hi Anamorphic Fans,
A friend of mine has some of the remains of Paramount's Camera dept. including a set of 1.5x anamorphics built for Vistascope (8perf horizontal, 1.5 squeeze) Productions. These 4 prime lenses are from the 50's and probably are more "interesting" and less "high performance", but I'll shoot some tests and we can see...

Matt Uhry
www.mattuhry.com
( in Buenos Aires this week )
 
Ah, now that's interesting. I didn't know they'd made them for vista - what mount are they??

Be great to see some tests, even if the lenses aren't that great - just to see how much of the anamorphic "look" they retain at 1.5:1...
 
Stephen Williams said:
Not quite the Viper is 27.6 megapixel to start with! ( 3 x 9,200,00)
Click to expand...

Not sure what you are disagreeing with here Stephen. As I said...pixels to spare. It still ends up at 1920 x 1080 though. Even taking into account the bayer res loses in the Red you should still have enough resolution to take full advantage of the 1080p format.

M
 
Martin said:
Not sure what you are disagreeing with here Stephen. As I said...pixels to spare. It still ends up at 1920 x 1080 though. Even taking into account the bayer res loses in the Red you should still have enough resolution to take full advantage of the 1080p format.

M
Click to expand...

I'm concerned much less with the resolution loss, than with losing the sides of the frame on wider lenses... defeats the purpose of using a wide lens!

R.
 
I have some TODD-AO anamorphic lenses if someone interested.

I have some TODD-AO anamorphic lenses if someone interested.

I have two anamorphic lenses made by Todd AO. They are listed as HISPEED ANAMORPHIC ZOOM made by TODD AO VIDEO. They are modified Fujinon 7x7 Wide angle TV zooms - it is the regular 7mmx7 with this pretty massive anamorphic adapter on it which is 130mm on the front and the back end goes over the 72 or 77mm front end of the Fujinon zooms. One is built on a Sony B4 mount and the other, which I partially dismantled, was on an Ikegami B3 mount.

They have their own film style focus mechanism on them. I have a few grand in them - original concept was to get anamorphic with the older non 16x9 video cameras. I don't have the time to really figure them out but if someone here is interested let me know and I will send pictures and we could strike a deal. It seems to me that they could be used either with the current lens or used to modify another lens - since the one I dismantled appears to work kind of like the anamorphic adapters for the DVX100 did.




Martin said:
I found this. Sold in January on Ebay for $76

http://cgi.ebay.com/Anamorphic-lens...71572801QQihZ016QQcategoryZ4690QQcmdZViewItem
Click to expand...
 
That Vistascope lens is not a camera taking lens, it's either a (unlikely) front attachment for a spherical lens or (likely) a attachment for a projector. Still if you find some optics that squeeze 1.5 that could become parts for a system if you are so inclined.

Matt Uhry
www.mattuhry.com
 
Dominic Jones said:
The D20, whilst it has a high MP count sensor, scales output down to remove any artifacts from the colour filter array, so even with the crop you'll get more pixels with the Red than the Arri.

That said, the D20 will have sub-sampled pixels with full colour sampling and (presumably at least) less aliasing etc (i.e. all the advantages of sub-sampling pixels from a larger array), so it's not an apples-for-apples comparison.
Click to expand...

The D20 may downsample (1.5x in 'TV mode' to go from 2880 pixels wide to 1920) but that certainly does not eliminate artefacts. Attached is a crop of a grab from a test I did with a D20 last week, captured 10-bit uncompressed straight off the camera, not via tape. It shows very noticeable Bayer artefacts.

No Bayer sensor is immune to those artefacts, but hopefully with the RED doing a 2:1 downscale to give 1080p, they should be greatly minimised, as each Bayer cluster of four pixels will be scaled to a single 1080p pixel. At least that's my assumption.
 
Following on from my previous post (sorry this is off topic for this thread, but I'm jumping off from the mention of the D20) it was interesting to use the D20, and get a look at the competition! The guy at Arri Media said they didn't see the RED as competition (time will tell on that one) but he applauded what Jim is doing.

I was pretty impressed with the D20. It was a VFX shoot and I was able to pull pretty good keys from the footage. Not as good however as the key I pulled from David Stump's greenscreen shot after I down-scaled that to 1080. I definitely believe the results would have been much better if I'd had my RED in time for the shoot.
 
3 sensor resolution.

3 sensor resolution.

If you do pixel offset, which most modern cameras do, you can get a 1.4x increase in resolution or a real effective 12.8 megapixel. P.S. It's not just interpolation. I don't know if the Viper uses pixel offset or not. anyone?

Joshua Provost said:
You don't count all three sensors in a 3CCD design to compute the resolution. It's 9.2 megapixel, 1CCD or 3CCD.
Click to expand...
 
Matt Uhry said:
Hi Anamorphic Fans,
A friend of mine has some of the remains of Paramount's Camera dept. including a set of 1.5x anamorphics built for Vistascope (8perf horizontal, 1.5 squeeze) Productions. These 4 prime lenses are from the 50's and probably are more "interesting" and less "high performance", but I'll shoot some tests and we can see...
Click to expand...

Matt.

It just ocurred to me, these lenses are designed for 8 perf horizontal so the gate size is going to be massive. You will only see a tiny portion of the centre of the image on Red sensor (about 50% of the original FOV), so you aren't going to get any wideangle shots.

M
 
Remember: No anamorphic front adapter will ever give you those streched bokeh out of focus ovals, that you are all after.
 
Joshua Provost said:
You don't count all three sensors in a 3CCD design to compute the resolution. It's 9.2 megapixel, 1CCD or 3CCD.
Click to expand...

Hi Joshua,

Why not? There is far mor data from a 9.2 megapixel RGB than from a 9.2 Bayer.

It will be interesting to compare a 4k RGB scan to a 4.5K Bayer sensor and see which has the most resoloution.

Stephen
 
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