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Cosimo murgolo

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heck yeah! Personally I'd want 4, one at a wide aperature (f1.4 or so) the sharpest aperature (f6 or so) and one all the way closed down, and one with a flare. Im mainly looking for chromatic aberration.

 

Thanks Comurit!

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

heck yeah! Personally I'd want 4, one at a wide aperature (f1.4 or so) the sharpest aperature (f6 or so) and one all the way closed down, and one with a flare. Im mainly looking for chromatic aberration.

 

Thanks Comurit!

 

Thanks for waiting. Red files for download:

https://www.dropbox.com/s/5kqq59sas9cnbet/Focus%20module%20RED%20RAW.zip?dl=0

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They really need to sort out their test footage.  sod the red camera.  Just shoot some humans with a 550d if needs be!  a human face in the foreground tells 1 million stories

yeah I fully agree, I guess we have to wait some more patiently to see the blossom spring.

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Ok so the anamorphic shop FB page replied to a comment of mine asking if the focus module would be ready before Christmas, and they said yes. Plus, with Comurit saying he would send the list of the people who want to pre-order with the discount at the end of this month, I think it will be available to us mere filmmakers sometime in November. Hopefully, soon!

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They really need to sort out their test footage.  sod the red camera.  Just shoot some humans with a 550d if needs be!  a human face in the foreground tells 1 million stories

yeah 550d with a Helios would be interesting. without seeing that and some faces how would I know if I wanted one?

If you cant shoot all shots with it ie at least 3 different usable focal lengths, its not like you can quickly get the anamorphic out and use it without the focus group, or maybe you can, but how to marry shots with & without?

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yeah 550d with a Helios would be interesting. without seeing that and some faces how would I know if I wanted one?

If you cant shoot all shots with it ie at least 3 different usable focal lengths, its not like you can quickly get the anamorphic out and use it without the focus group, or maybe you can, but how to marry shots with & without?

Well, if I am correct, what you are supposed to do is set the anamorphic to infinity, then the Focus module to 1 meter, and then focus using you primary lens until the image is sharp. Once that is done, you can switch out the lens, and do so with another lens that you can swap on the camera, since the anamorphic lens and focus module are separate. for me it seems, all you would need to do is calibrate several lenses beforehand, tape the focus ring so it doesnt shift when not attached, and then you can quick swap them out! On my 7D I can go as low as 50mm before I get some inside the barrel action. And really, when you think about it, 50 divided by the 2x "wider" field of view, you have a 25 mm lens, then multiply the crop factor, 1.6, and you get an 40mm lens, which imo, is plenty wide. Slap on an 85mm lens and that gets you a 65mm field of view.

 

Honestly, this is important too, since you are not focusing "with" the base anamorphic, the image has no chance of changing its field of view when rack focusing, something the high end Lomo's and even my SLR magic do.

 

Video: 

 

Pay attention to the edges.

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yeah 550d with a Helios would be interesting. without seeing that and some faces how would I know if I wanted one?

If you cant shoot all shots with it ie at least 3 different usable focal lengths, its not like you can quickly get the anamorphic out and use it without the focus group, or maybe you can, but how to marry shots with & without?

 

focal length compatibility shouldnt be of concern here.  the front optic looks to be way large enough to accommodate as wide taking lens as the cinelux or similar will allow.  this fm module wont add any additional vignette.  so full frame users will be able to shoot 3.55:1 ratio on an 85mm with little to no vignette, aps-c a 50mm, and m4/3 a 35mm.

 

 

I think there is far too much thinking with regard to how important having multiple focal lengths actually is within the film making process.  The importance becomes even less so when you're shooting anamorphic on a big sensor and resolutions to allow cropping.  imo just find the widest taking lens and leave it there.  then crop in or move closer for tighter shots:)  an 85mm + 2x anamorphot and a full frame sensor cropped at the edges to 4:3 is really wide.  the same on aps-c with a 50mm, and the same on m4/3 with a 35mm.   

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The tele end isnt the problem, seems a little crazy to have a wider tele shot but for the weird effects,

The widest taking lens, yup thats why I got the 10-22, was going to go for the tokina 11-16, but can't grumble with the Canon,

but do I want to give up the clarity for the anamorphic look, hmm not just yet, wish it had a wider aperture though,

and if I did maybe I would be happy enough with a fixed focus & some string :)

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The tele end isnt the problem, seems a little crazy to have a wider tele shot but for the weird effects,

The widest taking lens, yup thats why I got the 10-22, was going to go for the tokina 11-16, but can't grumble with the Canon,

but do I want to give up the clarity for the anamorphic look, hmm not just yet, wish it had a wider aperture though,

and if I did maybe I would be happy enough with a fixed focus & some string :)

 

i think you'll not seem much (if any) anamorphic character when the taking lens is that wide.  you'd be better off just shooting with the 10-22 on its own.

 

fast primes are where it's at with anamorphic.  anything wider than a 35mm at f2.8 and the dof is so deep the bokeh deformation isnt visible enough to warrant the loss of resolution and hassle the anamorphic adds to the process.

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Wally Pfister , who is Christoper Nolan's DOP for 5 films they have done together all shot on anamorphic super 35mm film,

his main 3 lenses that get used 90% of the time are

 

50mm, 75mm and 180mm

 

These are used time after time in his films

 

you can hear him talking about this on the ASC website podcast.

 

If I was wanting to shoot cinematic looking anamorphic I would be listening to Wally !!

he's one of the best out there still shooting anamorphic on all his films. 

 

(yes he does also have the luxury of shooting Imax for some scenes but these are with spherical lenses all f2.8 but Im not talking about his Imax stuff just the anamorphic shooting he does alot of)

 

 

So all you APSC and Micro 4/3 shooters (m4/3 ...stick a speed booster on to make your camera have a super 35mm field of view for the lenses ) can get these lengths that Wally uses ,

the 5D shooters might have a problem getting the 50mm to not vingette.

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i think you'll not seem much (if any) anamorphic character when the taking lens is that wide.  you'd be better off just shooting with the 10-22 on its own.

 

fast primes are where it's at with anamorphic.  anything wider than a 35mm at f2.8 and the dof is so deep the bokeh deformation isnt visible enough to warrant the loss of resolution and hassle the anamorphic adds to the process.

 

Agreed. I've mixed spherical 35mm with anamorphic 50mm in shoots without issue. You really can't tell the difference. Anamorphic shines at 100mm.

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Well, if I am correct, what you are supposed to do is set the anamorphic to infinity, then the Focus module to 1 meter, and then focus using you primary lens until the image is sharp. Once that is done, you can switch out the lens, and do so with another lens that you can swap on the camera, since the anamorphic lens and focus module are separate. for me it seems, all you would need to do is calibrate several lenses beforehand, tape the focus ring so it doesnt shift when not attached, and then you can quick swap them out! On my 7D I can go as low as 50mm before I get some inside the barrel action. And really, when you think about it, 50 divided by the 2x "wider" field of view, you have a 25 mm lens, then multiply the crop factor, 1.6, and you get an 40mm lens, which imo, is plenty wide. Slap on an 85mm lens and that gets you a 65mm field of view.

 

Honestly, this is important too, since you are not focusing "with" the base anamorphic, the image has no chance of changing its field of view when rack focusing, something the high end Lomo's and even my SLR magic do.

 

Video: 

 

Pay attention to the edges.

Looks there is a weird distortion while focusing changed.  Does the ISCORAMA do the same way?

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The weird look could it be a slight change from 2x to 1.7 or something?

exactly what you dont want to try compensate for in post.

So is her face 2x wider than normal? they say the camera puts on a few pounds :)

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