KOMODO and Anamorphic crop

[BrandonChristensen]

So we're doing prep on a feature that is A-cam Gemini, B-cam Komodo and doing some lens tests. We're shooting on Atlas Anamorphic, and the difference in how the focal lengths appear is staggering.

32MM KOMODO:


GEMINI:



This is a huge difference. Both cameras in Anamorphic 2x 6:5.

Anyone know what's going on?

 

[Luka Sanader]

Gemini sensor is taller 4mm then Komodo that's why

look at Phills tool for example and reference

https://phfx.com/tools/formatCompar...modelB=Komodo+6K&formatB=6K+6:5&focalLengths=

 

[Paramon Ivanovich]

there are couple speedboosters available, I have Canon EF-EOS R 0.71x on my Komodo 100% of the time,
looking at the difference - Komodo with the .71 might be even wider

 

[Luka Sanader]

Yeah its common knowledge the Gemini is best for 2x anamorphic. Or any anamorphic for that matter...

this is complacently false and based on the only one fact that there is bit more height on Gemini then lets say on a Helium. as this could be relevant maybe for having wider FOW on 40mm lens Gemini is far less interesting for anamorphic shooting then Helium. Lets see real numbers: Gemini 5K Full Height 6:5 3600 × 3000 VS 8k Full Height 6:5 5184x 4320 for a 2mm vertical gain in high is no brainier for me. Gemini, Monstro and Helium as all other reds will crop the sensor as soon as you start over-cranking to usable high speed so you have to deal with crop anyhow. This small difference 2.23mm between two sensors cant justify 22MP VS 10.8MP

 

[Phil Holland]

For format purists 2X, well good 2X was designed for Super 35mm Full Aperture 4-Perf with a smidge of over provisioning there within that format size. Most features I worked on in the 2000s exploited the full size of the negative and cropped to the film's desired aspect ratio with the assistance of the frame and focus set at the beginning of production.

Personally anything near 24.89x18.67 is a decent format for 2X. Modern times 1.8X as well.

I agree that the resolution gains are particularly enticing on the 8K sensors as anamorphic hits that critical 4K delivery spec, which is important to some, perhaps not to others. Gemini's format size is actually great for anamorphic otherwise.

Just to add to this while I'm wrapping about ana. When it was all film 65mm 5-perf tapped into 1.25X to get that wider ratio from an already wide format. 1.5X was dabbed with for VistaVision. When digital sensors were all 16x9 1.33X made a huge splash to net that 2.37:1 which was often cropped to proper 2.39:1.

2.39:1 is the spec really for theatrical wide screen, though many call it 2.4:1 or have gone with 2.35:1 even. Not saying other aspect ratios aren't valid, but wider than that is a tough sell these days for lots of reasons.

With the 3:2 sensors and cropped in ratios out there now, there's room for that resurgence of 1.5X, which has been happening. A little surprised by 1.6X and 1.75X existing at all, but it's the wild west when it comes to glass these days.

The anamorphic look is a very interesting playing ground. I have a rather strong personal preference likely fueled by films I grew up as well as the many of the early films I worked on which were mostly Panavision 2X.

But I am working with 1.8X a bit more now and I've been shooting 1.5X since the late 90s.

 

[Nick Morrison]

this is complacently false and based on the only one fact that there is bit more height on Gemini then lets say on a Helium. as this could be relevant maybe for having wider FOW on 40mm lens Gemini is far less interesting for anamorphic shooting then Helium. Lets see real numbers: Gemini 5K Full Height 6:5 3600 × 3000 VS 8k Full Height 6:5 5184x 4320 for a 2mm vertical gain in high is no brainier for me. Gemini, Monstro and Helium as all other reds will crop the sensor as soon as you start over-cranking to usable high speed so you have to deal with crop anyhow. This small difference 2.23mm between two sensors cant justify 22MP VS 10.8MP

You are confusing resolution with sensor size.

For S35 2x Anamorphic coverage, Gemini is the best RED camera for this, outside of Monstro - in fact, the smaller data footprint, and minimal crop at 4K for offspeed, could even make Gemini the best option for Anamorphic in the RED lineup. It was literally designed for it.

Resolution isn't everything.

 

[Luka Sanader]

You are confusing resolution with sensor size.

For S35 2x Anamorphic coverage, Gemini is the best RED camera for this, outside of Monstro - in fact, the smaller data footprint, and minimal crop at 4K for offspeed, could even make Gemini the best option for Anamorphic in the RED lineup. It was literally designed for it.

Resolution isn't everything.

why would i care about 2mm vertical difference and prioritize that over do double the resolution? if i have 24.5mm 40,mm 50mm 75mm 100mm and 135mm for a film why would i be stressed about 2mm? If the resolution is not the question then i will shoot on Alexa that is far better then the Gemini. If I want to have high resolution Anamorphic again 3600 × 3000 VS 5184x 4320 is no brainier. Fianly that argument about overcrancking and data rate is probably relevant in music video shooting but plays no baring in my decision process
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