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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 :)

Atlas Lens Co. - Orion Series 2X Anamorphic Prime Lenses

That's one of the many reasons anamorphic movies look different than spherical movies. Due to the breathing, you block differently, and rack a lot less. Anamorphic and breathing go hand in hand. This is not a bad thing.

Nick
 
Nick Gardner said:
That's one of the many reasons anamorphic movies look different than spherical movies. Due to the breathing, you block differently, and rack a lot less. Anamorphic and breathing go hand in hand. This is not a bad thing.

Nick
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Agreed Nick. Also, if anyone is so concerned with breathing and flaring, they are missing the point of the beautiful field of view of anamorphics and how it feels emotionally.
 
Regarding Breathing:

First let me say from experience - Any Lens Design is a compromise. Compromise is one of the key aspects of design philosophy which allows things to either "Be Real" or just "Be Talk"

Now, as for our anamorphic lenses - we knew there had to be breathing as part of the optical design - but what we did was make it so that when you focus closer your field of view actually becomes slightly larger (definition of breathing = change of field of view through focus range.)

We could have made it so that the field of view is smaller when focusing closer, but this seemed antithetical to the principles of camera operating.

If you're focusing on something closer in frame you might have a harder time keeping the frame where you want it if the field of view became narrower.

In this way, we focused on camera operating principles as part of a necessary compromise in design, that ultimately we believe you will find more engaging to yourselves as camera people and to the audience watching your films and commercials.

This subtle design philosophy choice is but one of many things we have done to make the lenses good for camera people, like Us.

In life, few things if any are perfect , but at Atlas we seek to uplift and improve your lives through cinematographic experience.

Happy American Independence Day!
 
Dan Kanes said:
Regarding Breathing:

First let me say from experience - Any Lens Design is a compromise. Compromise is one of the key aspects of design.

Now, as for our anamorphic lenses - we knew there had to be breathing as part of the optical design - but what we did was make it so that when you focus closer your field of view actually becomes slightly larger (definition of breathing = change of field of view through focus range.)

We could have made it so that the field of view is smaller when focusing closer, but this seemed antithetical to the principles of camera operating.

If you're focusing on something closer in frame you might have a harder time keeping the frame where you want it if the field of view became narrower.

In life, few things if any are perfect.

Happy American Independence Day!
Click to expand...

Well said, Dan.
 
Hey Dan, just out of curiosity for photography purposes, is it possible to mount an Orion the wrong way (for squeezed verticals instead of horizontals) and not experience any vignette?
Or does the 31mm Image Circle only apply to the horizontal resolution when mounted correctly?
 
Hey Brandon - what sensor(s) are you on?

I can give a full report when I have time.

You can rotate the lens 90’ so you have a lot of options- all the PL pins are slotted.
 
Last week I was commissioned to fly Monstro and Atlas Orion downtown Zürich, Switzerland, shooting a short feature film. First time the Orions were put on a drone with Monstro here in Switzerland.

Setup was Freefly Alta 6/Mövi M15 Combo with 40mm and 65mm, stripped down to a minimum.
I only had half a day to prep and test the setup before the shoot day.

In my limited time with the Atlas Orion, I can say that I am impressed with the very high quality of the Atlas Orions. Feels solid and well balanced in terms of weight and handling. Iris and Focus are smooth.
So congratulations to Dan and his team!

Here are two pics of the setup. Will post more BTS photos once I get hold on my assistant.

Once the feature film is released (later this autumn), we can share more images.

Thai
 

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I would like to add some info on my experience with Monstro and Atlas Orions. We shot the feature film on Monstro 8K 2x 6:5.

40mm does not cover Monstro 8K. It vignettes heavily. Also we see a lot of veilling flare too. Might be a good idea to paint the inner front element black to reduce the veilling flare?

Then in extreme lighting situation when you have direct sunlight hitting the lens in a certain angle, you will notice many vertical oval flares. I know that it is a matter of personal taste. But for me, I will try to avoid these kind of situations when using Atlas Orion. Just not my thing. I find them rather disturbing. So if you are like me and can avoid these extreme lighting situations, you will get nice blue streaks à la Sci-Fi style (without the many lens bloobs).
EDIT: Although, personally I prefer warmer lens flares. More natural.

Otherwise, I think for the price there is nothing out there right now that can beat the Atlas Orion.

See the test images and judge for yourself.
 

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Thanks for sharing. Those oval flares seem to echo what I saw in the music video that Daniel Stilling posted here earlier. Definitely personal preference on those.

A shame on the Monstro full frame coverage also! Did you only test 40mm on Monstro?
 
Michael Wahba said:
Thanks for sharing. Those oval flares seem to echo what I saw in the music video that Daniel Stilling posted here earlier. Definitely personal preference on those.

A shame on the Monstro full frame coverage also! Did you only test 40mm on Monstro?
Click to expand...

Yes, I pointed out those oval flares in Daniel Stilling music video in another thread but he seems not to be bothered at all. So definitely a matter of taste.

Unfortunately, with my limited time, only tested 40mm.
But I know that most of the scenes in this feature were shot with the 65mm.
 
Thai Christen said:
I would like to add some info on my experience with Monstro and Atlas Orions. We shot the feature film on Monstro 8K 2x 6:5.

40mm does not cover Monstro 8K. It vignettes heavily. Also we see a lot of veilling flare too. Might be a good idea to paint the inner front element black to reduce the veilling flare?

Then in extreme lighting situation when you have direct sunlight hitting the lens in a certain angle, you will notice many vertical oval flares. I know that it is a matter of personal taste. But for me, I will try to avoid these kind of situations when using Atlas Orion. Just not my thing. I find them rather disturbing. So if you are like me and can avoid these extreme lighting situations, you will get nice blue streaks à la Sci-Fi style (without the many lens bloobs).
EDIT: Although, personally I prefer warmer lens flares. More natural.

Otherwise, I think for the price there is nothing out there right now that can beat the Atlas Orion.

See the test images and judge for yourself.
Click to expand...

Do you have any frames from the 65mm lens in the air that don't vignette?
 
scott devitte said:
Do you have any frames from the 65mm lens in the air that don't vignette?
Click to expand...

Nothing that I am allowed to share right now I am afraid.

65mm and 100mm vignette slightly on Monstro 8K. Nothing you cannot eliminate in post. But if you want clean image you have to go 7K.
Or shoot Helium which fully covers 8K.

Posting some other BTS pics.
 

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One could also select Gemini 5K 6:5 or 5K 4:3 which is perfectly suited for anamorphic formats.

I’ll post some studio lit frames of a model on all the lenses with all the sensors at “all” the resolutions soon.

The beauty of a multiaspect sensor setup like Red uses , is that you can shoot “open gate” toss up some frame lines at 95% , shoot a framing chart if you want to (like they did with film - it’s also ok to skip this step if you know your frame guide) and start shooting.

People use our lenses a lot with Sony Venice and we just did a c700FF demo film with them the other day if anyone is concerned about bigger than s35 coverage. The anamorphic format we designed for is already “bigger than s35” - in that we followed the design standard of full height anamorphic from the days of film. Gemini embraces this format, monstro also embraces this format. Other formats work too, large and small - because we have illumination outside our image circle. That doesn’t mean it’s optimized for it, but if people feel experimental they can shoot that way.

Looking forward to putting out some really comprehensive format frames for everyone out there :) so then it’s easier to get a clear picture so to speak.
 
40mm vignettes on Alexa open gate too

But they are pretty and I like them
 
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