What Anamorphic Lens?

[Evin Grant]

Ah, thanks. In your opinion would there be any resolution advantage (Vs. asthetic) to a set of good 1.33x anamorphics for Red Vs. a center crop to 2.35:1?
My feeling was that the optics would take away more than they gave. But I have not shot anything anamorphic before.

 

[David Mullen ASC]

It makes more sense in film, where a 2X anamorphic means that you will use a lot more negative area than cropping to 2.35, if you are shooting 4-perf. There would even be some advantage for a 3-perf (16x9) negative with 1.33X anamorphics, to reduce grain mainly.

With a 4K digital camera, there is less advantage since you aren't dealing with grain. You'd probably get a smoother texture from using more pixels, maybe slightly less noise, but not really an improvement in sharpness. But then, since the lenses don't really exist, we don't know for sure what the improvement would be -- it depends a lot on the quality of the anamorphic lens, which is why I don't think simple anamorphic attachments to the front are going to cut it.

 

[Matt De Jesus]

How about getting a "Panavised" lens mount on the RED and using Panavision glass?

 

[Hans von Sonntag]

I never shot anamorphic but I like the wide screen. Apart form the optical looks aspherical lenses create I thought of a way I perhaps would go with RED:

1. Shoot 4k spherical with scope guide lines (cropped picture in VF / monitor)

2. Transfer in RED CINE to 2K anamorphic 2:1 (like conventional 35mm cinemascope 2K scans)

3. Print to film.

An thoughts?

Hans

 

[David Mullen ASC]

Panavision anamorphic lenses have the standard 2X squeeze, so on a 16x9 sensor (1.78 : 1) you'd end up with a 3.56 : 1 aspect ratio. By the time you were done cropping the sides to get to 2.39 : 1, you wouldn't be any better off than cropping normal 16x9 to 2.39 vertically.

As far as filming-out to 35mm anamorphic from normal RED photography, just as with any spherical photography, you'd frame for cropping to 2.39, but you'd save the crop & stretch to 2X anamorphic for the laser recorder step.

From your full-frame 16x9 master, you'd make any full-frame, letterboxed, and pan & scan versions for home video submasters. For digital projection, you'd make a version that was cropped to 2.39 (probably something around 2048 x 857 for 2K projection and 4096 x 1714 for 4K projection.)

 

[Jim Zhang]

There is a solution if someone wants to shoot 2:36:1 ratio on Red, the 1.33X anamorphic converter. Based on Red's format of 16:9 ratio, if you add a 1.33X anamorphic in front of the lens, you will get squeezed image on horizontal, which means that you will keep the field of view on vertical same and widen the field of view in horizontal by 1.33 times. The true ration will be 2.36:1 with 1.33X anamorphic converter.

 

[Jim Zhang]

There is a solution if someone wants to shoot 2:36:1 ratio on Red, the 1.33X anamorphic converter. Based on Red's 4K format is 16:9 ratio, if you add a 1.33X anamorphic in front of the lens, you will get squeezed image on horizontal, which means that you will keep the field of view on vertical same and widen the field of view in horizontal by 1.33 times. The true ration will be 2.36:1 with 1.33X anamorphic converter.

 

[Pol Turrents]

There is a solution if someone wants to shoot 2:36:1 ratio on Red, the 1.33X anamorphic converter. Based on Red's 4K format is 16:9 ratio, if you add a 1.33X anamorphic in front of the lens, you will get squeezed image on horizontal, which means that you will keep the field of view on vertical same and widen the field of view in horizontal by 1.33 times. The true ration will be 2.36:1 with 1.33X anamorphic converter.

And where we can found the 1.33x anamorphic adaptor?

 

[Michael Hastings]

Have Large Anamorphic adaptor for sale or codevelopment

Have Large Anamorphic adaptor for sale or codevelopment

I have two anamorphic adaptors made for some Fujinon lenses by Todd AO. They are very large and were on lenses with about an 80mm front end and the front of the adapters are about 6 inches across.

I think they are 1.5x but not sure.

I removed one of them from the lens it was on but don't really have the patience or the tools to work on them properly. I would be willing to sell them or work with someone to develop them into something useable if anyone is interested.

So its possible to put an adaptor on the front end of, lets say a Red lens? An adaptor that does not exist of course but I like the idea. Worked well back in the DVX days so I can only imagine an Ultra HD anamorphic adaptor will be produced for the 4k users of tomorrow.

 

[Pol Turrents]

2 years ago I made the first feature in real 2.35 using varicam and F900 (info), so I've been researching different ways of doing the 2.35 picture.
Since I asked about the 1.33x anamorphic lenses I was wondering about if there's out any system. Well... EXISTS from an european company, and it's specially design for super 35, super 16, and of course is perfect to work with a RED. I've just tested the lens and I can't tell anything right now, but it works really really nice.
I can't wait to test with a RED.... 4k with anamorphic is going to have an incredible resolution!

 

[Pat Cooksey]

I
I'm looking for true 2.35to1 type panoramic wide shots @4k for landscapes and cloud/skyscapes...

Any thoughts?

JohnF

I am not sure you would gain anything from using an anamorphic lens. Anamorphic lenses are designed to squeeze a 2.35:1 to a standard 4:3 35 mm full frame. But this is not the super 35 mm frame which in film cameras (and RED) re-centers the lens and uses the extra space (like super 16) originally set aside for printing optical sound tracks.

I don't know if typical anamorphic lenses are capable of covering the full super 35 aperture.

Super 35 (though also almost a perfect 16:9 aspect ratio) is generally used in film as a less cumbersome way to achieve a 2.35:1 aspect ratio using standard cine lenses taking advantage of the extra real estate of the super 35 aperture. The negative real estate available is wider and so cropping for the format is less destructive than cropping a standard 35 aperture.

Pat Cooksey
DP Atlanta
Motion Visuals
www.motionvisuals.com.

 

[Øystein Mamen FNF]

Date of release?

Date of release?

I've just tested the lens and I can't tell anything right now, but it works really really nice.

Hi, is this going to be released in the near future? I have a feature coming my way where it might be instrumental, and would love to have any more info on it.

Øystein