This will be a short introduction before I get down to shooting with the beasts you see above.
On the left we have the Leica SL2, which features a 5K anamorphic mode (4:3 aspect ratio) that records in 10bit LOG format.
On the right we have the Fujifilm GFX 100 which is my first medium format camera that has been useful for cinema. However one ingredient has been missing with medium format and that is anamorphic!
[vimeo]http://vimeo.com/66574661[/vimeo]
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.
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.
Read moreHow Blackmagic can add anamorphic recording mode to their Cinema Camera the easy way
[vimeo]http://vimeo.com/29524740[/vimeo]
Grab the new EOSHD Anamorphic Shooter’s Guide 2nd Edition just $19.99!
The Cinemorph adapter is a very simple custom built filter for $140 + shipping with a cat’s eye front and flare generator. It is designed not just to simulate the flare of anamorphic lenses but the stretched bokeh. Here, EOSHD tests the adapter against a real $3000 anamorphic lens for widescreen cinematic images using a Panasonic GH2 and Sony NEX 5N.
Read moreSneaking in the anamorphic back door with CineMorph
I was lucky a few months ago to find a rare Isco Centavision lens, which is a high quality 2x wide anamorphic lens. It has it’s own focus ring and it gives quite a Cinemascope-a-like 3:1 aspect ratio on the GH1 with it’s quirky native 16:9 sensor.
Read moreIsco Centavision – Extreme HD Anamorphics (2160×720) – Part 2
A few months ago on EOSHD I did a series of articles on the Panasonic LA7200 anamorphic lens. Since then it’s strangely disappeared from eBay. Who snapped them all up? Was it you? There must be a lot of people out there without one too!
It’s a great lens, gives footage bags of cinematic feel, and I absolutely love it.
Yet still, the LA7200 cannot quite compete with the expensive Iscorama in situations where you want a moderately telephoto shot, shallow depth of field, or ultimate low light performance. With the LA7200 you are limited to around F4, but with the Iscorama you can get down to F1.4 and still have a sharp image, with plenty of depth of field. You can also put an Iscorama on the end of a 85mm lens and it will perform great with both the GH1 and 5D Mark II. The LA7200 is limited to beautiful wide shots on the GH1 – it doesn’t do 85mm especially not on the 5D Mark II.
Read moreCinerama Part I – Going 3:1 anamorphic with the Isco CentaVision