Anamorphic

Anamorphic sample footage shot with the SLR Magic Anamorphot – and which lenses go best with it?

December 9, 2013 Andrew Reid (EOSHD)

[vimeo]http://vimeo.com/81352789[/vimeo] (The anamorphic footage starts around 10 seconds in) The new SLR Magic Anamorphot 50 jointly developed with the help of EOSHD is here in it’s final non-prototype form and I’ve shot the above video with it (Sony FS100). This should give you an idea of how the flare moves around during a shot and the general anamorphic aesthetic you are able to get with the adapter. Also part of the fun of the adapter is that like the Iscorama it sings with certain lenses, which all have a different look. I’ve been trying it out with a bunch of

Anamorphic

On test – the final SLR Magic Anamorphot 50 x 1.33

November 22, 2013 Andrew Reid (EOSHD)

View 10 frames from a rehearsal shoot with Bunny Suit, a Berlin based band I’m currently working with on a music video Disclosure: I have worked closely with SLR Magic in refining the flare and have a close relationship with SLR Magic, but I am approaching the lens objectively in my articles. It’s here! The finished lens.

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Anamorphic

2.5k CinemaScope anamorphic raw on the 5D Mark III

May 20, 2013 Andrew Reid (EOSHD)

[vimeo]http://vimeo.com/66574661[/vimeo] Get the EOSHD Anamorphic Shooter’s Guide for a comprehensive guide to anamorphic lenses, which ones to use, how to get them and how to shoot Download the 2.5k 2560×1280 Vimeo file and playback on a 2.5K or 4K display for best results Download a pack of DNG frames from the original raw files to judge quality The spec sheet is impressive. 14bit linear bayer raw is sub-sampled from a 6K sensor, giving 1280 lines of extremely clean resolution with an anamorphic compliant 4:3 aspect ratio. This is in a similar league to the image quality of the Sony F35 (Superman Returns,

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Anamorphic

DJANGO UNCHAINED – Anamorphic is Tarantino’s preference – how DP Robert Richardson shot masterpiece ‘spaghetti southern’

February 28, 2013 Andrew Reid (EOSHD)

Thanks to Volker for spotting the info. Image credits and further reading: Django Unchained / Robert Richardson at The American Cinematographer Magazine ~ Django Unchained echoes spaghetti westerns at Kodak camera and television Learn the ropes and unholster your gun – The EOSHD Anamorphic Shooter’s Guide I honestly can’t remember the last time I was so gripped by a mainstream piece of cinema. For the first half I had a permanent grin etched on my face for at least an hour, and for the second half I was on the edge of the seat with the kind of tension and sheer terror that you rarely

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Anamorphic

Shooting guerrilla style in Berlin with Iscorama 54 and Blackmagic Cinema Camera

February 14, 2013 Andrew Reid (EOSHD)

[vimeo]http://vimeo.com/59539071[/vimeo] The Lens Whilst Canon L lenses are like a fleet of company Lexus cars. This isn’t really what I want in my films. I need something different. Something with character. For this reason I’ve long been using anamorphic lenses. I recently shot some test footage with the Iscorama 54 anamorphic. This is essentially an Iscorama 36 but instead of a 36mm rear element it is 54mm. Even though the whole lens is double the weight, not as sharp and almost triple the size I like it because it has character.

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Anamorphic

All aboard the Juice Train, an anamorphic train journey from Florida to New York

January 26, 2013 Andrew Reid (EOSHD)

[vimeo]http://vimeo.com/57016257[/vimeo] Check out more of Andrew Wonder’s work here Director, cinematographer and DSLR user Andrew Wonder talks to EOSHD about his latest anamorphic spot for G.E… The technology behind the shoot is rather interesting. Two Sony F3 cameras mounted on the front of the train, remotely controlled and recording to e-sata drives in the control carriage, kitted out with Joe Dunton / Panavision anamorphic lenses from London. Joe Dunton is a British Bafta winning camera equipment guy who has always held a great fascination with anamorphic lenses, and was one of Stanley Kubrick’s closest collaborators after A Clockwork Orange in