Category: Anamorphic

(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 them…

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SLR Magic Anamorphot 50 1.33

SLR Magic Anamorphot 50 1.33

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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SLR Magic ANAMORPHOT 1,33 50

The new SLR Magic anamorphic lens now has an official title and price.

Dubbed “ANAMORPHOT 1,33X 50″ – it will cost $799 for the anamorphic adapter.

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In part 2 of the SLR Magic anamorphic coverage we’ll look at how the prototype lens looks and performs on the Blackmagic Cinema Camera.

There’s also a poll in which you can help influence the final lens flare this anamorphic produces.

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SLR Magic Anamorphic Prototype V3

At the beginning of the IFA show in Berlin, Andrew from SLR Magic dropped by at my studio and dropped off the V2 and V3 anamorphic prototype lenses the company are working on. As long time EOSHD readers will know I am a passionate advocate and shooter of anamorphic.

The SLR Magic anamorphic is the first new lens of it’s kind to be announced in many years.

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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, Tim Burton’s Alice In Wonderland) which cost $250,000 just 5 years ago.

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Django Unchained - Tarantino, Richardson

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 see with the pacing of most mainstream movies – Ridley Scott did it with Alien and Tarantino’s completely mastered it here. The first act is like the journey of a roller coaster up the tracks and then for the 2nd half it comes rocketing down and you’re terrified.

Django Unchained is a towering achievement – and here’s how it was shot.

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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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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 the 70′s and provided Kubrick with his lenses on Eyes Wide Shut.

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If I were stuck on a desert island with only one lens, I’d choose the $20 Helios 44M-2 and anamorphic adapter. OK that is technically two lenses but I’d fire all my other lenses at a brick wall at 200mph if it meant keeping hold of the Isco CentaVision 2x anamorphic.

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Get Dreamleaver by Herdwhite on iTunes

Embedded video not showing? Click here to view or download on Vimeo

A big thanks to Ciecio7 for donating his superb OCT19 to E-Mount lens adapter for this shoot. This is available on eBay.

We shot this with the young German movie actress Lili Zahavi (IMDB) and theatre actor Niklas Brubach. A big thanks to both of them for their performances. This is a music video for my fellow friend from Manchester “Herdwhite” whose track Dreamleaver was recorded here in Berlin.

The Sony FS100 has a nice image but it isn’t as organic as the Blackmagic Cinema Camera. To make it more organic you use organic lenses. Actually as Herdwhite would tell you it is the same with music. You can use a drum sample – but it is not as organic as a real drummer. Anamorphic gives you instant production value if used well.

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Filmmaker Andrew Wonder (Undercity) has had some interesting modifications done to his Iscorama. Not a cheap modification but re-housed as a cinema lens by Van Diemen and optimised for closer focus.

The test above is shot on the 5D Mark III and there’s more from Andrew below, on his ‘Wonderscope’ anamorphic.

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5D Mark III and Iscorama 36

Get the new firmware here for the 5D Mark III

The 2nd Alpha release of Magic Lantern for the 5D Mark III brings a very useful feature for anamorphic shooters such as I, a real-time anamorphic aspect ratio preview in live view. This is extremely useful for shooting bare bones with an anamorphic lens, or for those with no monitor / EVF that supports anamorphic de-squeeze.

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Sony NEX 5N Cinema Housing

If you are interested in getting one, please let Richard know on the forum…

Richard Gale emailed me a few days ago to tell me about his cinema housing for the NEX 5N.

And here it is.

Richard tells EOSHD more about the housing after the break – how it improves the NEX 5N and how he intends to price it.

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Blackmagic Cinema Camera

Above: the BMD Cinema Camera pictured in a photo from PhotoCineRent in France. I have pre-ordered mine.

The Blackmagic Cinema Camera is nearing release and final sensor calibration / firmware adjustments are taking place. When I last spoke to beta shooter John Brawley about his involvement with the camera, he had this to say on an anamorphic mode…

“We have discussed the possibility of doing anamorphic. They’re aware that it’s a potential market. I don’t think you’ll see it on this version.”

This feature would increase vertical resolution by nearly 800 lines and allow for the wider, more cinematic aspect ratios of 2.39:1 and 2.66:1 aspect ratios when used with an anamorphic lens.

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Blade Runner

Ridley Scott will direct the sequel to Blade Runner soon and a screenplay is currently being prepared. Find out what Scott and cinematographer Jordan Cronenweth were thinking when they shot the incredible original with anamorphic lenses.

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Find out more about anamorphic shooting in my book, the EOSHD Anamorphic Shooter’s Guide 2nd edition

I was in Shanghai for most of November. Shanghai is a monstrous megapolis of concrete really and not quite what I was expecting. It is FAR rawer than Tokyo or Taipei and a lot of the old cultural relics have been swept away – but it was a very interesting place to visit and to film footage in. Down the road there was the Jade Buddha Temple in Jing’An district which is part tourist destination part temple of worship for the local Chinese, I took a look inside…

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Here is a quick test I conducted in Berlin today… No bloody charts, just a pair of AKG headphones. The idea was to focus on the AKG badge, determine sharpness and judge the overall character of the lenses. The apertures are at a minimum for each lens – maybe you can go a bit lower on the Proskar but the Canon FD 50mm Macro is a good fit for it, seems sharpest with that lens.

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The EOSHD Panasonic GH4 Shooter's Guide
The EOSHD 5D Mark III Raw Shooter's Guide
The EOSHD Sony A7 Series Guide to Full Frame Lenses
The EOSHD Panasonic GH3 Shooter's Guide
The EOSHD Anamorphic Shooter's Guide - Second Edition
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