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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 :)

TVC shot on ANAMORPHIC LENSES and some with Elites

Wow Fred, that's cool, It's good to see the lomo's put to such good use. They have a lot of character...

Check out a film "Stellich Licht", "Luz Silenciosa" or "Silent Light" from Mexico last year it's a big Lomo Fest.

Matt Uhry
www.mattuhry.com
 
Sorry for this amateur silly stupid question; is there anything more good to anamorphic lenses (when using a digital sensor) than the lovely esthetics, such in Frerdiks spot?
 
JNAD said:
Sorry for this amateur silly stupid question; is there anything more good to anamorphic lenses (when using a digital sensor) than the lovely esthetics, such in Frerdiks spot?
Click to expand...

It's esthetics but isn't that good? To answer your question there's nothing really gained from it except for the way the look and behave, but that can't be duplicated in any other way, simply because the way they create the image.

There's no one saying you should shoot anamorphic lenses because it's better, but some of us film buffs who fell in love with the format from the movies can't help but think it's the best approach for film making.

I'd also like to say that DANCAD3D's post is very good indeed. Anamorphic lenses are extremely complicated within their elements etc, so please make sure that you have a technician who's experienced with them to take care of yours. In saying that don't let it scare you. Any old lens you get will need to be serviced and looked at, you just need to take that into your calculation when getting it. We have a swedish saying - Freshly dared, half won! Which sounds silly in english, but you get the draft.

I would like to add that when we're speaking about "softness" we're not talking about backfocus. We're simply referring to the DOF that these lenses create. Creating "softness" were it's not focused and to get more of this we decided to shoot wide open. Text book does not recommend this, so it's again a individual preference thing. I had my lenses served by a very well known technician with decades of experience and there still not finished. Taking them back to him for some more tweaking. So as said, have in mind that used lenses need service and that anamorphic are a complete different ball game and therefor need different technician experience.

Regards,

Fredrik Callinggard
 
"It's esthetics but isn't that good?" it sure is!!

Do you get the same look with Hawk lenses? Or should it be vintage Lomo?
 
weirdcrew said:
It's esthetics but isn't that good? To answer your question there's nothing really gained from it except for the way the look and behave, but that can't be duplicated in any other way, simply because the way they create the image.
Click to expand...

This brings up an often overlooked missed point about lenses - it's how they look and if that's a good creative choice, not how "sharp" they are and how little chromatic aberration they have

Some lenses are exceedingly crappy at shooting test charts, but for the correct subject they rock.

Matt Uhry
www.mattuhry.com
 
JNAD said:
"It's esthetics but isn't that good?" it sure is!!

Do you get the same look with Hawk lenses? Or should it be vintage Lomo?
Click to expand...

Different lenses will give different results. I've used the Hawks and they're brilliant lenses. If we'll go in to specifics they will most probably not flare as much as the Lomo's, simply because the coating on the Lomo's is worn, being older lenses. That in turn could maybe make the Hawk's be seen as "sharper" or more "crisp" as well, depending on how you define that term.

Any anamorphic lens will give you the artifacts that you're looking for. As any lens the newer they are the more resolution and the better mechanics they tend to have, since the evolution with lenses is like everything else, continuously better.

Now If you know you want them to "flare" then you should look for older lenses, since they will most probably do that easier then new ones. It's also depending on what kind of flares you want it to be. An older will most probably "milk" the image more in it's flare, because of coating.

Some DOP's use un-coated lenses. I myself have done it numerous times just to get that milky flare look. Now it's really difficult to focus on un-coated lenses so beware of that.

The short answer is YES and NO. Lenses have their individual look but as a general the anamorphic lenses have a common look as well. Nothing is better or worse they're all a matter of preference.

The hawks are awesome lenses and is possibly my next buy, just not now since they cost a fortune.

regards,


Fredrik
 
Jnad,

After checking out Freds TVC spot you could catch "Pingpong Kungen" ( shot entirely on Hawks from what I understand ) to get an idea of what can do what when and how.

DogDay
 
Looking forward to see the longer version from the 2k. Can you post a 720 og 1080p version, possibly? Also - am I the only one who noticed that some of this looks a bit hazy or maybe it was graded this way on purpose? Also - I spotted some shot that looked "squashed" as if they weren't unsqueezed correctly?

Below is the initial shot the way it looks on my machine and then how I'd expect it to be (or how I would have graded it)...
 
The wide shot of the dock is gorgeous. Is that shot with the Anamorphic LOMOs?

I really like the low contrast Tabacco feel. Really great. Hmm, I might have to try Red and Anamorphics, that is hot. Has anyone tested the Hawks?

Looking forward the 2K graded cut.

Matt
 
Weirdcrew (Fredrick) directed that spot, I bet he would be happy to help.

I had seen that spot somewhere other than here before... It was unreal... very beautiful.
 
Hi guys,

It was for a roadsafety campaign in Denmark. We did 2 spots, one with this car crash and the other with a boy going through a windscreen. These films were truly low budget. We had high speed crash cameras that a facility from Germany was kind enough to lend us. Only problem was that they didn't have any VF and with that no video assist, of course. So we had to calculate the angles and with all the plates we did, hope for the best. The result we couldn't see until the very next day with our dailies :biggrin: . It's nice when the agency doesn't understand how crazy a project really is hahahha.

Here's a link to where it has subtitles. It's the one called carcrash.

http://www.rsafilms.com/d/rsa/companies/joy-rsa/190

There's an english speak version as well but I don't know where (I will try to find it). Unfortunately I don't have a website right now. I'm in the middle of starting a new company etc.
I've also been meaning to ask for an advice so I'll try to see if I can find the other film for the same campaign (the boy through the window) - You see a certain famous film director ripped it off completely, shot by shot, for a scene in his latest film (it's actually quite scary - he used it as a storyboard hahahaha). I'm curious in what your opinion would be about that.

Fredrik Callinggard
 
WOW Fredrik,

I had been admiring that spot all morning. Fantastic spot. Were the people comped into that crash footage?

I wish the agencies around here gave me scripts like that.
 
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