4.5k VS ANAMORPHIC LENSES on RED CAMERA

[Kip Kubin]

Today I was testing some new Arri Std Speeds @ 4.5k and decided to do a side by side comparison of 4.5k with Anamorphic lenses.
The goal was to have a visual reference for what each format brings to the table when using the Red camera.

All tests shot at ASA320 at T4. Flat 56K White Balance. All photos are directly exported form Red Cine X. The camera was not moved or panned however for some shots it was tilted upward. I was in the same spot for each test.

50mm Zeiss Std Speed shot at T4 in 4.5K mode

50mm Lomo Square Front Anamorphic Lens shot at T4

18mm Zeiss Std Speed shot at T4 in 4.5K mode

35mm Lomo Square Front Anamorphic Lens shot at T4

 

[Shane Betts]

So the sphericals at 4.5k are wider than the ana's at 4k? Is that about right?

 

[Kip Kubin]

Not really... the 50 is wider in anamorphic than the spherical but only slightly.

I don't know how much wider a true FF sensor would make the lens

35mm is all I had that would compete with the 18mm.

The slight dof advantage was nice to see side by side as well.

If anyone has a 22mm Lomo Anamorphic Id love to see the same test.

 

[David Mullen ASC]

Normally on a 4-perf 35mm camera, a 50mm anamorphic would have the same vertical view but twice the horizontal view as a 50mm spherical image in Academy. But if you cropped the 50mm spherical to 2.40, then you'd have less vertical view compared anamorphic image.

In other words, at the same focal lengths, anamorphic images look more wide-angle than spherical images cropped to 2.40. Hence why in general you use shorter focal lengths in spherical 2.40 than anamorphic 2.40 to get similar views, and thus why anamorphic tends to have less depth of field being longer in focal length.

However, these tests are odd in terms of view, I guess it may have to do with the fact that an anamorphic lens on the camera shot at 4.5K would still have to be cropped severely on the sides because you're talking about a 2X optical squeeze on a 2:1 recording, which would be a 4 : 1 image once unsqueezed. This is why the 4K ANA mode only records around 2.8K horizontally.

You'd have to supply the actual recorded areas for each lens and the final size of the image to understand the lens views.

The problem with putting a 2X anamorphic cine lens on a FF35 sensor is mainly that it probably would vignette, being designed for 35mm cine-sized areas.

 

[Kip Kubin]

Thanks. That makes sense.

So, if I done my research correctly, and the designers of the cameras (Epic and Scarlet) want to, they should be able to make the ANA modes extract the normal 22mm x18mm area normal to 4 perf anamorphic film from the super 35mm sensor size of 24.89mm x 18.66mm

Please do that for me Red.

If it's not too much to ask.

 

[David Mullen ASC]

The Red sensor is not the same height as a 4x3 4-perf 35mm cine sensor, it's a 16x9 sensor, which is closer in size and shape to a 3-perf 35mm frame.

Even the larger 5K M-X sensor for the EPIC is 30mm x 15mm, 2:1 -- not as tall as the 24mm x 18mm 4-perf Super-35 frame.

You won't be able to record an 18mm tall area until the Monstro sensor comes out, which is FF35, 36mm x 24mm.

 

[Thomas Wright]

Yeah, I'm confused, I'd've thought that the Ana mode would be higher than the 4.5 so there should be more vertical angle of view for the anamorphic.

 

[Kip Kubin]

Well I guess I'll have to settle for the biggest ANA frame they'll give me in S35.