RobertoSF

  It is impossible to misalign an anamorphic lens with a PL mount. It is pin registered. Some can be mounted upside down, but the effect you see is immediately obvious. You may be referring to shots that were done with the 10mm LOMO, which is non-anamorphic. The rectilinear nature of that lens largely straightens out what would otherwise be a fisheye-like look, however the very top and bottom edges are very slightly curved. If you're into the story, you don't notice. Naturally, I will be focused on the story in post more than anything else.   Thanks for the comment and good wishes!

Thanks so much. I experimented with other aspect ratios but decided to go with what the camera naturally shot. I quite like composing the frame to it. More about how it affected production in a followup...

Most welcome. Glad it is of some benefit to others.

  Stay passionate about your work you'll find a way. Only took me 15 years to get the feature rolling... ;)

Nice bit of journalism there, Andrew, especially on short notice. Like others, I'd appreciate more clarity on the multi-aspect ratio sensor feature. Sounds like it is not on the GH3, but want to know for sure. It's a feature I really want for 2x anamorphic shooting, and so far as I can tell, no digital camera offers it up to (and including) the BMC and Canon's 4K C500.

[quote name='richg101' timestamp='1347888587' post='18334'] Spec sheet of dreams. I been waiting for a m4/3 sensor camera to come out for use with anamorphic lenses. not gone with the gh2 yet due to expecting this to come out. The BMC is out of the question due to file sizes. this is perfect. Will an Iscorama 36 + 25mm taking lens vignette on m4/3? Will this provide 4:3 recording at 70mbit? [/quote] I second the question. Can we, finally, realize the dream of shooting something close to 2.35:1 with LOMO anamorphic lenses?

Exciting news, Andrew. Any word on the GH3 having a 4:3 aspect ratio available? I would pre-order if it did.

I could not agree more. It's the character of a lens that counts. Good article, Andrew, thanks for broadening the depth of this field...

Andrew, visiting your site is like willfully strolling into a minefield... where you hope to step on a BOMB!! Now help me figure this out: if we mount our PL LOMO ana lenses on this what will the aspect ratio be?  2x S35? Exciting times, compadre! Roberto PS, any speculation on what Panasonic's answer will be?  ...the AF700??

Does it have a mirror? Can we mount PL cinema glass to it...? Like LOMOs? Thanks for posting the latest, Andrew... glad you are out there monitoring the front lines of development...

Good article, Andrew. I like your lensing on the future. It will be very interesting to see what Panasonic offers next. Perhaps a successor evolved from the GH2 and AF100 (which is currently on sale, along with their P2 cameras).  Meanwhile, a number of us are reasonably happy with our GH2s and PL mount anamorphic lenses. One request to Panasonic: can you please, please, please make the sensor aspect ratio switchable to 4:3? To shoot footage that will properly de-squeeze to 2.35 would be a dream. Can you pass that along to the powers-that-be, Andrew? Gracias, compadre.

[quote author=Rosebud link=topic=56.msg686#msg686 date=1323612316] The attractiveness of Anamorphic shooting is recognising that it is a first and foremost a distorting lens, this is what makes it stand out creatively, this is what makes it feel cinematic in the way we want to describe and understand cinema, it is the combination of both fantasy and reality that delivers a surreal image that we can't quite make sure of, but know it's alive and larger than life and we like it, it's a sexy and enticing visual quality. You only have to view some of the mediocre examples online of anamorphic shooting and they instantly feel more cinematic, than anything otherwise. This is why? Now have this in the hands of trained and visual masters and it becomes a dream we don't want to wake up from. Everything is just bland after you see something in anamorphic... [/quote] I agree. The other day, at the base of a tall, thin Poplar tree in fall color, I pointed a 35mm anamorphic lens straight up and rotated the tripod head. I figured this would accentuate the natural distortion in the lens, but I had no idea that it would look so organically beautiful, as if the tree itself were growing in real-time in ways I could not fully grasp but only marvel at. I can not read enough about anamorphic cinematography. Thanks Andrew for presenting all but lost insights from the past, and creating a space for insights like Rosebud's here. Keep going.

It will be interesting to see what sort of character they have.

Absolutely, Illya. Now if we can find a good method to get my footage from 3.55 to 2.39 we may really have something to cheer about. http://vimeo.com/31375483 GH2+LOMOs Meanwhile, can you recommend a path to test how this footage looks projected? It's currently in FCP 7, ProRes 422. Thanks, compadre, your hotrod gear is holding up well so far... Roberto http://www.mandorlamovement.com/ http://www.puregrain.com/