Guest Posted October 16, 2014 Share Posted October 16, 2014 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! Quote Link to comment Share on other sites More sharing options...
Cosimo murgolo Posted October 20, 2014 Author Share Posted October 20, 2014 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 Quote Link to comment Share on other sites More sharing options...
Cosimo murgolo Posted October 20, 2014 Author Share Posted October 20, 2014 Raw images from these shots: was used Zeiss lenses 50mm & 100mm. Anamorphic Schneider Cinelux 2x Red files for download: https://www.dropbox.com/s/5kqq59sas9cnbet/Focus%20module%20RED%20RAW.zip?dl=0 Quote Link to comment Share on other sites More sharing options...
richg101 Posted October 20, 2014 Share Posted October 20, 2014 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 valid, nahua and andy lee 3 Quote Link to comment Share on other sites More sharing options...
Cosimo murgolo Posted October 20, 2014 Author Share Posted October 20, 2014 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. Quote Link to comment Share on other sites More sharing options...
JohnVid Posted October 21, 2014 Share Posted October 21, 2014 Are these with a Red cropped sensor, & with 100mm Lens? Quote Link to comment Share on other sites More sharing options...
Guest Posted October 26, 2014 Share Posted October 26, 2014 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! Quote Link to comment Share on other sites More sharing options...
JohnVid Posted October 27, 2014 Share Posted October 27, 2014 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? Cosimo murgolo 1 Quote Link to comment Share on other sites More sharing options...
Guest Posted October 27, 2014 Share Posted October 27, 2014 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. Quote Link to comment Share on other sites More sharing options...
richg101 Posted October 27, 2014 Share Posted October 27, 2014 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. dahlfors 1 Quote Link to comment Share on other sites More sharing options...
JohnVid Posted October 27, 2014 Share Posted October 27, 2014 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 :) Quote Link to comment Share on other sites More sharing options...
richg101 Posted October 28, 2014 Share Posted October 28, 2014 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. Cosimo murgolo 1 Quote Link to comment Share on other sites More sharing options...
JohnVid Posted October 28, 2014 Share Posted October 28, 2014 35mm without crop & anamorphic no vignette would be what i'd like to see, day & night, the new test shots should be up soon... Cosimo murgolo 1 Quote Link to comment Share on other sites More sharing options...
andy lee Posted October 28, 2014 Share Posted October 28, 2014 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. Cosimo murgolo 1 Quote Link to comment Share on other sites More sharing options...
silvertonesx24 Posted October 28, 2014 Share Posted October 28, 2014 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. Quote Link to comment Share on other sites More sharing options...
ken Posted October 28, 2014 Share Posted October 28, 2014 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? Quote Link to comment Share on other sites More sharing options...
JohnVid Posted October 29, 2014 Share Posted October 29, 2014 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 :) Quote Link to comment Share on other sites More sharing options...
Cosimo murgolo Posted October 30, 2014 Author Share Posted October 30, 2014 FM test with Moller anamorphot 32/2x richg101, EeeCeeGee and Hans Punk 3 Quote Link to comment Share on other sites More sharing options...
richg101 Posted October 30, 2014 Share Posted October 30, 2014 magical. just imagine that with a 85mm f2 on full frame! Cosimo murgolo 1 Quote Link to comment Share on other sites More sharing options...
Hans Punk Posted October 30, 2014 Share Posted October 30, 2014 Hubba Hubba. Quote Link to comment Share on other sites More sharing options...
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