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

(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…

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

On test – the final SLR Magic Anamorphot 50 x 1.33

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.

Read moreOn test – the final SLR Magic Anamorphot 50 x 1.33

Introducing the SLR Magic anamorphic lens – hands on with new V3 prototype

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.

Read moreIntroducing the SLR Magic anamorphic lens – hands on with new V3 prototype

2.5k CinemaScope anamorphic raw on the 5D Mark III

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

dng_logo

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.

Read more2.5k CinemaScope anamorphic raw on the 5D Mark III

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

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.

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

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

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.

Read moreShooting guerrilla style in Berlin with Iscorama 54 and Blackmagic Cinema Camera