Panasonic will release the new anamorphic firmware for the GH4 on Wednesday, April 22nd. With this update the Panasonic GH4 will have more vertical resolution than the Arri Alexa Studio for 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…
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.
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.
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.
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
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.
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
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.
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.