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Blog Comments - SLR Magic Prototype Anamorphic footage and feedback request

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Posted

[quote name='Kandre' timestamp='1353169409' post='21847']
I can't understand.
[/quote]

Fixed that for you.

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Posted

[quote name='matray' timestamp='1353172311' post='21851']
I agree with that.
12mm F1.6 or F2.0
24mm F2.0
75mm F2.0
Single focus
Bottom line is price range :) and diopter !
1000$ each ?
[/quote]

Yes, if they worked like this I'd be there with bells on for $1K each, single focus, fast and with a really wide option.

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Posted

[quote name='Stunko' timestamp='1353096133' post='21795']
Not quite sure why indie shooters are still using these anamorphic lenses? When professional film cameras are using non-anamorphics and just crop for Scope. And good luck finding a DCI-class digital cinema projector w. an anamorphic lens attachment. They also just crop. In fact, I had no idea that anamorphic lenses were still being made, with new models coming out now. Amazing.
[/quote]


Couldn't just let this go...I tried, just can't.

Spherical 35mm (non-anamorphic) became more prevalent than anamorphic for two reasons: laziness and cost. Period. Super-35mm produces inferior release prints (not that that matters now) as an acquisition format. It's cheaper and arguably slightly easier to manipulate in post production, optically and digitally. Slightly. That slight edge in post throughput has been shrinking all the time and by now would be negligible.

The math is a little easier with camera tracking and match-moving, in a digital FX environment. Realistically though, even before the age of digital FX these kind of special shots were more often acquired with an 8-perf 35mm system (VistaVision...the difference between VV and normal movie film is like the difference between shooting with a GH2 or 7D sized sensor and that of a 5D).

You cannot recreate the composition of an anamorphic scene by cropping to the scope aspect ratio. Anamorphic photography captures a scene with entirely different spatial characteristics, within the 2.35:1 (or wider) two dimensional space, compared with standard, spherical photography. It's not just about flares and oval bokeh. Those are the cherries on top, not the main course.

And none of this has anything really to do with projection. I don't understand why you'd even bring that up, other than you likely don't understand how any of this works. Movies have been acquired anamorphic and released flat for years (70mm release prints of Blade Runner anyone?) and spherical/non-anamorphic acquisition have come to theaters as anamorphic release prints.

Oddly enough, the earliest digital projectors in theaters were 4:3 systems with anamorphic lenses, due to resolution limitations. Nowadays there's no need with 4K systems being very common, if not the most common. Acquisition and projection have always been two different issues with different concerns. The move away from anamorphic acquisition was one motivated by cost, without concern for the aesthetic ramifications. Thankfully some filmmakers refused to drink the corporate kool-aid.

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Posted

I thought one of the benefits of using an anamorphic lens was that it makes the focal length wider - hence widescreen.
So why the obsession of wanting a 12mm or 24mm anamorphic lens - how wide do you really want or need to go?
I know most of you have gone the MFT route, but there are more & bigger sensors out there too!
So what happens when you drop 1K on a lens that you'll only ever be able to use on a MFT & you buy/rent a camera with a bigger sensor? Cause lets face it, things will move on & so will you - the glass you buy should be adaptable for the future.
Furthermore, the only cameras that have been used in films so far are the 5D & 7D, not the GH2.

If SLR Magic were sensible they wouldn't sell an anamorphic just for one camera/sensor size - so i've changed my mind, they need to make an anamorphic lens that is adaptable to different primes (re. Andrews recent question), but is that possible to do & make it a single focus system?

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Posted

[quote name='Bioskop.Inc' timestamp='1353184331' post='21865']

So why the obsession of wanting a 12mm or 24mm anamorphic lens - how wide do you really want or need to go?

[/quote]

Same reason some folks are contributing to this topic.

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Posted

[quote name='BurnetRhoades' timestamp='1353185033' post='21867']
Same reason some folks are contributing to this topic.
[/quote]

I've got this image of people sitting in the corner of rooms & saying to themselves "I can see the whole room, cool!"
LOL!

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Posted

After further consideration, Andrew, even if this were a one off, 25mm hyperprime + anamorphic, single-focus system I'd be keen to buy it. In fact I'd pre-order one immediately based on this video and faith in the quality of SLR Magic lenses.

I could use my Century for wider, mostly out-door (and thus stopped down) establishing shots as well as on longer, CU/ECU lenses where diopters aren't potentially disruptive. This would likely be my go-to lens that would also be easier to deal with for an AC. I look forward to seeing how this project progresses.

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Posted

for dem folks who is new to der tecnography of widescreen filmin.
my actor friend steven seegal from der navy cook filum gives a master class in techerneeks.
https://www.youtube.com/watch?v=d82j_Qfp_VA

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Posted

Nikon f-mount please and FF(24X36mm) image coverage would make it suitable for a wide range of systems.

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Posted

[quote name='Bioskop.Inc' timestamp='1353184331' post='21865']
I thought one of the benefits of using an anamorphic lens was that it makes the focal length wider - hence widescreen.
So why the obsession of wanting a 12mm or 24mm anamorphic lens - how wide do you really want or need to go?
I know most of you have gone the MFT route, but there are more & bigger sensors out there too!
So what happens when you drop 1K on a lens that you'll only ever be able to use on a MFT & you buy/rent a camera with a bigger sensor? Cause lets face it, things will move on & so will you - the glass you buy should be adaptable for the future.
Furthermore, the only cameras that have been used in films so far are the 5D & 7D, not the GH2.

If SLR Magic were sensible they wouldn't sell an anamorphic just for one camera/sensor size - so i've changed my mind, they need to make an anamorphic lens that is adaptable to different primes (re. Andrews recent question), but is that possible to do & make it a single focus system?
[/quote]
I really don't agree with that. I owned a 5D and switched to a GH1 with no remorse ! better image, codec, antialiasing, less rolling shutter, etc.. But apart from that, the Black Magic camera's sensor is almost Micro4/3's sized, the Digital Bolex also. I don't know about Red's or Alexa's because they're out of my league, but the full size sensor from the 5D isn't the futur to me ! Canon need to work hard to get close to this, even with the D300 which isn't as good as the BMC looks to be !
So if they work with micro4/3 sensor size in mind I don't think they're closing any doors for the futur.
That being said I do agree about how wide we need to go. I recently shot a short film and I only used an old 28mmF2.8 and a 50mmF1.7 from pentax with the ALGA7200 and honestly, it was wide enough. And again I think a 2,66 ratio (1.5X factor on a 16/9 sensor) could also reinforce this... Just my two cents ;)

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Posted

[quote name='BurnetRhoades' timestamp='1353099045' post='21804']
Is the patent still in a stranglehold on the Iscorama though? That'd be great if it functioned like you're saying but I hadn't even considered it because of the patent.
[/quote]

Actually is out of patent now, I am told.

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Posted

[quote name='EOSHD' timestamp='1353280140' post='21909']
Actually is out of patent now, I am told.
[/quote]

[img]http://www.eoshd.com/comments/uploads/inline/13968/50a97ac24a62d_YESSSS.gif[/img]

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Posted

[quote name='BurnetRhoades' timestamp='1353284294' post='21910'] [img]http://www.eoshd.com/comments/uploads/inline/13968/50a97ac24a62d_YESSSS.gif[/img] [/quote]

SLR magic wont be able to manufacture something like the Iscorama for less than twice the current going rate of a used iscorama on Ebay. Even at £3000 for a new anamorphic exact copy of the iscorama 36, and/or a set of matched primes for £3500 a pop, PL mount, they would sell lots. I'd happily do a feature film and know it would be good enough for the big screen using my Iscorama + Zeiss primes on an Epic or Alexa. Problem is, SLR magic might struggle to market to this end of the market

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Posted

[quote name='richg101' timestamp='1353324872' post='21924']
SLR magic wont be able to manufacture something like the Iscorama for less than twice the current going rate of a used iscorama on Ebay. Even at £3000 for a new anamorphic exact copy of the iscorama 36, and/or a set of matched primes for £3500 a pop, PL mount, they would sell lots. I'd happily do a feature film and know it would be good enough for the big screen using my Iscorama + Zeiss primes on an Epic or Alexa. Problem is, SLR magic might struggle to market to this end of the market
[/quote]

Really need a bit more information about where they are at right now.
I'm assuming, from the footage, its a fixed focus monobloc at the moment & at 1.8m min focus that's pretty damn good already!
If this is true, then they could just make a series of adaptors with different focal lengths.
But i suppose that will eliminate the possibility of racking focus - unless they can get a good approximate focal length, say between 1-2m, 2-3m, 3-4m & an infinity.
A bundle of 4 adaptors, with this possibility & big enough to fit on any camera, for £1000 would be interesting.

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Posted

ITT lots of assumptions

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Posted

Has there been any word on a release date?

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Posted

To me, the simplest way to not infringe on the patent seems to be to have an anamorphic attachment that functions as dual focus, until you attach the amazing, super duper single focus accessory which contains other elements and mechanisms (diopter, helicoid etc) for single-focus use.

 

Then you have a single focus system, you've just sold it in two parts, one is "optional".

 

If it's out of patent though, awesome!

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