Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Epic Anamorphic Test

Marc Ruiz

Marc Ruiz

Well-known member
Joined
Aug 29, 2009
Messages
145
Reaction score
0
Points
16
Location
Detroit
We wanted an excuse to try out Lomo Anamorphics on the Epic

No budget Music Video to test out the combination!

This is a rough cut, no grade version, but for testing purpose I think it's pretty telling...

http://vimeo.com/33010212

password: anamorphic

The footage is pretty raw - just a little tweak on the contrast

I have noticed that to get those deep blue flares it requires specific lights that you just don't get on a no budget shoot

But I think using the resources we had we still got quite a few of the flares to feel out the lenses on the camera

Thanks for taking a look

I found the 96 fps limiting but I am hoping that was just a build thing

Marc
 
Last edited:
Love the anamorphic look! Did you shoot that in L.A.?
 
Thanks for looking!

We shot this on a haunted floor in a building in downtown Detroit

Fun location
 
I'm definitely not bashing the roundfronts - that's what I used for the Epic test

Just an interesting fact that the squarefronts, the lesser versions of the lomo's imho, just pick up flares on everything to the point of silliness
 
Hi: two things. First, there seems to bea lot of "veiling" which may mask some of the deep blue horizontal flares. Second, I am not sure what you mean by specific lights that you don't get on a no-budget shoot.

Here are two trailer clips from the recent Live DVD from Thievery Corporation. These were shot on Red Ones using Lomo anamorphics. There was a camera assistant at each cam (3 were used) holding a small LED flashlight next to and to the side of the lens, moving it up and down at a sharply oblique angle to get the flares. Note that there is both horizontal and vertical flaring and, there are deep blue flares in the shots where you also don't have "veiling."

These teaser clips only have some of the flaring, but its very evident in the full DVD. I know about their technique because 1) I was there watching them film it, and 2) I was supposed to be renting them my set of Lomo anamorphs, but had just flown back from China a few hours before the concert, so I had contact with the DP.

http://www.youtube.com/watch?v=8IhQXM48psk

http://www.youtube.com/watch?v=8k8P05C2v7k


Thanks
 
Thanks for sharing the video links Michael

You are correct - lights on the side of the lens can get blue flares

To get those deep blue flares with particularly clear edges typically requires more then an LED light on the side of the lens - I definitely see the blue flares you are talking about in your links but I'm thinking about those Super 8 flares more so.

The flare that comes from a joker 800 HMI with a Leko lens is much more pronounced then an LED light on the side of the lens - it just requires more set up time and not an option on some fast paced shoots

I have some examples from previous work I'll post from the cutting room floor as it were - I just have to find em :)
 
Last edited:
Here's the main differences between round and square front Lomo anamorphic lenses to me.

The round fronts have a closer focus on the 50 and 75 - making the 75 RF tighter than the 80 SF as far as min focus goes.
The round fronts are usually mechanically superior as they are newer.
The round fronts are not as prone to mumps at min focus than SFs
The round fronts have a splashy bloomy rainbow kind of flair as well as the horizontal line...the coatings are very different and that contributes the the different look of the RFs flair and the ability to get a flair.


The square front 35 is regarded as a better lens as far as sharpness to its RF counterpart and is good wide open. (the 50 and esp the 80 are terrible wide open.)
Most need to be overhauled before professional use
Prone to mumps at min focus
Flairs are tighter than the RFs... the 50 will bloom a bit with a rainbow but the 35 and the 80 have a similar response of horizontal lines and iris bubbles.
Older lens coatings do not minimize flairs.
Look their best at a 4-5.6 split

It's also my belief that the SFs "issues" are the same things that force a more cinematic approach to the shooting and blocking of a scene. If you've used a set of SF's and then watch Solaris its easy to understand how and why Vadim Yusov made the choices he did in filming.



Here's some additional clips of videos shot on Lomo Sq Fronts

James King - Cinematography

http://vimeo.com/24802059

Rhet Bear - Cinematography

http://vimeo.com/29440829
 
Thank Kip that's a pretty comprehensive breakdown

I can't even find a 35mm roundfront so I have never seen the SF 35 compared to the RF 35 but now I am very curious

Because the RF's I have 50, 75, 100 seem to be sharper then my SF 35

The right tool for the right job though for sure

I love the RF's because of how nice they are mechanically - The SF's seem to breath a whole lot!
 
That is a good point about the breathing...or shift when racking....and the RF's are sharper in general...or at least the ones I have used..but I go back to the older movies I like and they are not nearly as sharp as the modern ones and I'm OK with that.

It is nest to have access to all kinds of ANA glass...as you said each kind or series has it's own thing.
 
Andrew Walker said:
Anamorphics always look so cool to me. Hopefully I'll get to shoot some timelapse on some sooner than later.
Click to expand...

Yeah Andrew timelapse is kinda silly fun with the anamorphics

We shot a series of spots in Alaska and did a ton of timelapse and let the sun flare the lens

All that made it into the spot was the last 3-4 seconds in this ad

http://vimeo.com/28589524
 
Yes, thanks Kip for the breakdown. I want to use Anamorphic lenses. Looking forward to RED's lenses.
 
I really don't understand why people get off on anamorphic flares. They're cool in the right context, but when the flare is completely obstructing you from seeing any detail in a scene? Come on...

No offense to anyone here. All the footage shared here looks great. I just don't see the appeal. The new Star Trek bugged the hell out of me for that reason. I couldn't keep my head in the story because I kept thinking "I can't even see the guy's face because that flair is so big!!"

Exhibit A....
 

Attachments

  • Screen Shot 2011-12-22 at 12.17.20 PM.jpg
    Screen Shot 2011-12-22 at 12.17.20 PM.jpg
    6.2 KB · Views: 0
  • Screen Shot 2011-12-22 at 12.18.47 PM.jpg
    Screen Shot 2011-12-22 at 12.18.47 PM.jpg
    7.2 KB · Views: 0
Michael - I hope that Red actually makes the Red Pro Anamorphics but they've gone back and forth on that haven't they?

Dane - The Zeiss Anamorphic looks awesome - I can't believe it'll be zeiss and 1.3 - When those come out I may as well throw away my lomos!

Jonathan - I think the appeal of it comes from the prestige we associate with anamorphic. At one time I remember when I could only use Anamorphic if I could (a) find the glass and (b) use 35mm (unless I found the even rarer 16mm anamorphics that is). There is a certain exclusivity to the club if you will. I think Red has created a system that let's more people in. Lomo's definitely aren't hawks - but they look great and give that fun look. And I think going over the deep end is a fun way to enjoy it :)

That said, I know when I shot this test music video to have fun with the anamorphics that I definitely went over the top with the flares but it was fun doing it!

And in the end...isn't that what this is really all about!
 
I feel the flares give the viewer a dream like quality and out-of-this-world experience. I think sometimes its over used in certain films but in the hands of master filmmaker, its a great tool.
 
You must log in or register to reply here.
Back
Top