Shooting in London on the 5D Mark III with Iscorama 36 1.5x anamorphic

[Andrew Reid]

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Feel like I’ve had a breakthrough with the 5D Mark III on this shoot.

[url="http://www.eoshd.com/content/7780/shooting-in-london-on-the-5d-mark-iii-with-iscorama-36-1-5x-anamorphic/"]Read full article[/url]

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[PAVP]

REALLY love the look of this video.  Still not the sharpest look of any of your videos i've seen but really nice in every other way.  The richness of the color is something I love about the Canon look.  It just always has that warm feel the way I think things actually look in real life.  I love your shot composition and I hope to learn how to do the same myself.  Sometimes I like what I get but other times it's just not there.  I'm new to this but it's really inspiring looking at your films.

[Alex Mand]

Great images Andrew! Anamorphic really gives an extra sexy look. Have you sharpened it a bit?

This year so far is being promissing in terms of new cameras coming. I think that fellows with MKII shoudn't rush to buy anything by now... Things will get hotter after NAB....

[Lenslover]

Thank you for the brilliant site Andrew and the regular news and updates that keep it fresh.
I wonder if you would mind elaborating on your comment.. "But there is a magic to full frame, as there was with the old Mark II. It is all in the rendering of the lenses".
I find no-one being able to pin this down properly. Apart from the crop factor's effect on focal length, how is the same lens 'rendering' differently on a full-frame to give it 'magic' rather than if it is on a crop sensor body?
Anyone's thoughts on this encouraged as I find discussions on this always tend to blur into vagaries.

[mike_tee_vee]

I know this word gets over used, but there's something inherently "cinematic" with this footage.  Simply awesome.

[Andrew Reid]

[quote author=Lenslover link=topic=545.msg3569#msg3569 date=1333919276]
Thank you for the brilliant site Andrew and the regular news and updates that keep it fresh.
I wonder if you would mind elaborating on your comment.. "But there is a magic to full frame, as there was with the old Mark II. It is all in the rendering of the lenses".
I find no-one being able to pin this down properly. Apart from the crop factor's effect on focal length, how is the same lens 'rendering' differently on a full-frame to give it 'magic' rather than if it is on a crop sensor body?[/quote]

Since the sensor is larger, you can use a longer focal length but maintain a wider field of view, especially with an anamorphic. So 50mm is as wide as a 25mm on the GH2. Now that means you see more of the rendering of the image in the circle of light projected by the lens into the sensor, and a shallower DOF partly due to the longer focal length. It is a unique look.

[Axel]

[quote author=Lenslover link=topic=545.msg3569#msg3569 date=1333919276]
I wonder if you would mind elaborating on your comment.. "But there is a magic to full frame, as there was with the old Mark II. It is all in the rendering of the lenses".
I find no-one being able to pin this down properly. Apart from the crop factor's effect on focal length, how is the same lens 'rendering' differently on a full-frame to give it 'magic' rather than if it is on a crop sensor body?
Anyone's thoughts on this encouraged as I find discussions on this always tend to blur into vagaries.
[/quote]

Do you remember the Bloom christmas shootout? The screenshots for the color comparison, where the unsharp candle confetti in the background were the biggest with the 5D? This is because if the sensor size doubles, the bokeh doubles (well, not exactly, but clearly). And what is more, the colors in the background are softer.

Beautiful shots. EOS stays ahead of all the DSLR cameras. At least for video.

CBR seems to be a good idea for a master. It sometimes happens that the vimeo or youtube encoder makes the ugly pixel clouds in your shadows in spite of your effort. This can be prevented by a very fine "filmgrain" that you put on difficult parts of your video (shadows, gradients, blurry parts, the worst are blurry moving dark shadows) before you upload. Called [url=http://en.wikipedia.org/wiki/Dither][u]dithering[/u][/url].

[Lenslover]

[quote author=Andrew Reid - EOSHD link=topic=545.msg3571#msg3571 date=1333920732]
Since the sensor is larger, you can use a longer focal length but maintain a wider field of view, especially with an anamorphic. So 50mm is as wide as a 25mm on the GH2. Now that means you see more of the rendering of the image in the circle of light projected by the lens into the sensor, and a shallower DOF partly due to the longer focal length. It is a unique look.
[/quote]
Thanks Andrew. So the 'magic' you are referring to is the fact that we get the shallower DOF at the relatively wider angle? If so, with a crop sensor, can we not equal this 'magic' with faster lenses such as Voigt .95 on gh2?
(putting aside anamorphic effects for the moment)

[Andrew Reid]

The magic is purely that of the lens being designed to cover a full frame sensor. Cropping into that image circle removes some of the more interesting aspects of the image toward the edges and means you need to go for a wider focal length for a wide field of view, making depth of field deeper and less shallow. A full frame sensor allows you to really open up the bokeh at 50mm compared to 25mm.

The Voigtlander on the GH2 is a superb lens. The super fast aperture of F0.95 compensates somewhat for the wider focal length on the 1.86x crop sensor of the GH2, giving you a shallower depth of field, a dreamy (yet still sharp) look wide open and it has very unusual bokeh, and a radial curving of the bokeh around the edges of the frame along with a very attractive vignette. It mimics a lot of the qualities of a lens when it is on a full frame sensor.

The GH2 with good glass is lovely. Resolution on the GH2 is fantastic. The crop sensor allows for a fast aperture at tele-photo focal lengths, as 85mm is tele-photo on the GH2 whereas on full frame it is just a medium portrait lens.

Both of these cameras have their special qualities.

[rishaar]

Andrew, thank you !
you've just rocked my world !!!! ;D  I was hoping you'll do an anamorphic short with the MKiii because this is the look i prefer above all.
you are doing a wonderful job not just testing cameras, but also inspiring people.

[Simco123]

I bleive one of the two AA filter was removed without serious detrimental effect on moire but would allow better details for video. Will Canon release a version with weaker or minus this AA filter? I hope videographers will start asking question and use NAB 2012 as a opportunity to push Canon to remove this AA filter because clearly it is too strong.

[Tim]

Are the fuzz in the shadows under the bridge shots from the internal codec or from the Vimeo compression?

[Andrew Reid]

[quote author=Tim link=topic=545.msg3587#msg3587 date=1333965502]
Are the fuzz in the shadows under the bridge shots from the internal codec or from the Vimeo compression?
[/quote]

It is supposed to be as black as night under that bridge. It is some kind of playback issue with your display or gamma boost. Even if you boost the lows to an extreme extent on the first shot in Premiere you get quite a fine grain of noise.

I only notice ugly macro blocking under the bridge on a computer display which is set too bright. It is fine on my calibrated MacBook Pro (2011) 17" display and Panasonic projector.

What about downloading the original file from Vimeo and trying then?

[rishaar]

Andrew, can you please elaborate about the export profile in PP cs5.5?
[quote]I exported to H.264 High Profile, level 5.1 from the original ALL-I 1080/25p which is level 5.1 originally.[/quote]
Do you mean you created a custom profile mimicking the ALL-I properties? Beside level 5.1, what target bitrate did you use, and how many Pass?

I believe this is a really important breakthrough, more and more people are saying (on forums of course) the ALL-I is crap compared to the IPB, which i find very intriguing.
NLE compatibility and/or export settings sounds more plausible.

[ZigFilm]

Wow - this looks amazing!  I must have this lens!  Any ideas where one might be hiding that I could purchase? 

[Andrew Reid]

[quote author=rishaar link=topic=545.msg3589#msg3589 date=1333971345]
Andrew, can you please elaborate about the export profile in PP cs5.5?
[quote]I exported to H.264 High Profile, level 5.1 from the original ALL-I 1080/25p which is level 5.1 originally.[/quote]
Do you mean you created a custom profile mimicking the ALL-I properties? Beside level 5.1, what target bitrate did you use, and how many Pass?

I believe this is a really important breakthrough, more and more people are saying (on forums of course) the ALL-I is crap compared to the IPB, which i find very intriguing.
NLE compatibility and/or export settings sounds more plausible.
[/quote]

I find that intriguing as well, because in my testing IPB has been pretty poor. What are they saying about it on the forums and have you any links?

[rishaar]

I was mostly marked by this thread:
http://***URL not allowed***/viewtopic.php?f=30&t=39999

it is an interesting test posted by a user , but it quickly turns into ALL-I vs IPB ... 7 pages so far (!?) so if you have the patience  ;)
i believe the thread just after this one is about how ALL-I look varies between FCP and PP CS5.5

I'm guessing NLEs are a little bit behind this, but upgrades and CS6 will probably fix this (it happened before)

[bradleyg5]

I still don't quite understand what the anamorphic lens is? it's not a totally separate lens? It's like a converter that sits on top of another lens? Like you said it was stacked on top of a 50mm pancake lens? as in the anamorphic lens doesn't connect directly?

[ZigFilm]

Hey Andrew,

I just bought your anamorphic e-book guide.  What a treat!  I had no idea the possibilities these lenses could provide.  I actually own the Panasonic LA7200 from my DVX100 days.  Is the only diopter that works still the Foton +1?  Looks like that will be a challenge to find.  Also, did you ever find a way to mount in securely?  I think I'll still keep an eye out for a Iscorama 36, though. 

Thanks!
Erick

[Tim McC]

Great footage!  I bought your Anamorphic Shooter's guide and found it very helpful.  I've been using a Iscorama Cinegon with some Super-Takumar primes.  These produce very nice images, but the Takumars aren't really sturdy enough to support the Iscorama.  I've also been trying some EF Canon primes, (50mm and 85mm) which are much sturdier, but lack the charm of the Takumars.  Do you recommend the Nikkors are a superior taking lens on both build and optical quality (with the anamorphic)?  Are there any other options? 

Thanks!