Comments on: Anamorphic Lenses http://www.hotrodcameras.com/uncategorized/anamorphics-and-the-hot-rod-pl We Build Photographic Hot Rods! Fri, 27 Jan 2012 02:12:50 +0000 hourly 1 http://wordpress.org/?v=3.2.1 By: admin http://www.hotrodcameras.com/uncategorized/anamorphics-and-the-hot-rod-pl/comment-page-1#comment-237 admin Tue, 26 Jan 2010 09:58:37 +0000 http://www.hotrodcameras.com/?p=712#comment-237 I'm going to have to pick up one of those filters. I can't wait till this airs! Thanks for keeping me posted. Also a little off topic I just saw a demo of digital anamorphic flare created in about 30-seconds with Apple's Color using the square vignette tool squeezed down to a thin rectangle with defocused edges. I think, it may have fooled just about everyone. I. I’m going to have to pick up one of those filters. I can’t wait till this airs! Thanks for keeping me posted.

Also a little off topic I just saw a demo of digital anamorphic flare created in about 30-seconds with Apple’s Color using the square vignette tool squeezed down to a thin rectangle with defocused edges. I think, it may have fooled just about everyone.

I.

]]> By: Robert Mclachlan ASC http://www.hotrodcameras.com/uncategorized/anamorphics-and-the-hot-rod-pl/comment-page-1#comment-236 Robert Mclachlan ASC Tue, 26 Jan 2010 09:10:21 +0000 http://www.hotrodcameras.com/?p=712#comment-236 Slightly off the topic of anamorphic. But on the subject of flares. I have been using the GH1 as a sort of digital eymo on the TV series Human Target on which I am often using "BLUE STREAK" filters from the Filter Gallery in New York. I just like mucking up that often too clean HD image I get from the D21's - as good and film like as they are. Anyway, I have used them on the Lumix with a Hot Rod PL mount and a clip-on mattebox on a Cooke S4 and they look great. These filters are like those ones from Germany ( I forget what they call them) that they want 15 grand apiece for but these ones sell for about 400 bucks. Contact Stan Wallace at the Filter Factory. They really do great things with highlights. So far only Clairmont rents them that I know of. Cjeers, Rob Slightly off the topic of anamorphic. But on the subject of flares. I have been using the GH1 as a sort of digital eymo on the TV series Human Target on which I am often using “BLUE STREAK” filters from the Filter Gallery in New York. I just like mucking up that often too clean HD image I get from the D21′s – as good and film like as they are. Anyway, I have used them on the Lumix with a Hot Rod PL mount and a clip-on mattebox on a Cooke S4 and they look great. These filters are like those ones from Germany ( I forget what they call them) that they want 15 grand apiece for but these ones sell for about 400 bucks. Contact Stan Wallace at the Filter Factory. They really do great things with highlights. So far only Clairmont rents them that I know of.

Cjeers,

Rob

]]> By: admin http://www.hotrodcameras.com/uncategorized/anamorphics-and-the-hot-rod-pl/comment-page-1#comment-235 admin Wed, 20 Jan 2010 08:58:56 +0000 http://www.hotrodcameras.com/?p=712#comment-235 Hi Edvard, The Sony PD-100a is a 1/4" CCD camera with a 3x CCD sensors in a native 1.33 aspect ratio. Adding a 1.77x (rounding off) would result in a 2.35 aspect ratio. The PD-100a did also feature a 16:9 mode which used a much smaller slice of the tiny CCDs. The correct method of deriving 2.35 would be to utilize an anamorph that would use the maximum vertical resolution of the CCDs, even if it meant a higher squeeze ratio. On the other hand, the GH1 (as well as Canon HDSLR cameras) can only capture HD utilizing a 16:9 aspect ratio, the correct amount of squeeze to reach the genuine anamorphic aspect ratio of 2.39 is 1.34x. 2.39 is commonly (and incorrectly) referred to as 2.35 and 2.40. The actual aspect ratio for 99%+ of all movies being released in "35mm anamorphic" are in fact 2.39. All of this information can be found inside the ASC manual in a very comprehensive paper by Robert Hummel, who at the time of the original writing was I believe also the editor of the ASC manual. Hope this clears up any confusion. I would be delighted to see the prototype lenses. Warm regards, I. Illya Friedman Hi Edvard,

The Sony PD-100a is a 1/4″ CCD camera with a 3x CCD sensors in a native 1.33 aspect ratio. Adding a 1.77x (rounding off) would result in a 2.35 aspect ratio. The PD-100a did also feature a 16:9 mode which used a much smaller slice of the tiny CCDs. The correct method of deriving 2.35 would be to utilize an anamorph that would use the maximum vertical resolution of the CCDs, even if it meant a higher squeeze ratio.

On the other hand, the GH1 (as well as Canon HDSLR cameras) can only capture HD utilizing a 16:9 aspect ratio, the correct amount of squeeze to reach the genuine anamorphic aspect ratio of 2.39 is 1.34x. 2.39 is commonly (and incorrectly) referred to as 2.35 and 2.40. The actual aspect ratio for 99%+ of all movies being released in “35mm anamorphic” are in fact 2.39. All of this information can be found inside the ASC manual in a very comprehensive paper by Robert Hummel, who at the time of the original writing was I believe also the editor of the ASC manual.

Hope this clears up any confusion. I would be delighted to see the prototype lenses.

Warm regards,

I.

Illya Friedman

]]> By: Edvard Friis-Moeller http://www.hotrodcameras.com/uncategorized/anamorphics-and-the-hot-rod-pl/comment-page-1#comment-234 Edvard Friis-Moeller Tue, 19 Jan 2010 16:39:29 +0000 http://www.hotrodcameras.com/?p=712#comment-234 Hi Illya Just got my GH1 and will be buying one of your PL mount rigs soon :-) Some (10) years ago i was responsible for designing and operating the infamous 100 cameras on Lars Von Triers "Dancer In The Dark" that we did with the then newly released Sony PD-100. I got in touch with an optical designer here in Copenhagen that had worked with Arri on the Arriscope lenses and he helped us with the design and production of anamorphic front adapters for the cameras. To produce the right squeeze for 1:2,35 we calculated that it should be around 1,77X, so how you arrive at 1,34X has me puzzled ? I still have a couple of these around - both an uncoated prototype and the final coated production model that are made to screw onto the front thread of the cameras (52mm as i recall) and would very much like to show you some tests if you are interested. Best Regards Edvard Friis-Moller Hi Illya

Just got my GH1 and will be buying one of your PL mount rigs soon :-)

Some (10) years ago i was responsible for designing and operating the infamous 100 cameras on Lars Von Triers “Dancer In The Dark” that we did with the then newly released Sony PD-100.

I got in touch with an optical designer here in Copenhagen that had worked with Arri on the Arriscope lenses and he helped us with the design and production of anamorphic front adapters for the cameras.
To produce the right squeeze for 1:2,35 we calculated that it should be around 1,77X, so how you arrive at 1,34X has me puzzled ?

I still have a couple of these around – both an uncoated prototype and the final coated production model that are made to screw onto the front thread of the cameras (52mm as i recall) and would very much like to show you some tests if you are interested.

Best Regards

Edvard Friis-Moller

]]> By: Peter Jordan http://www.hotrodcameras.com/uncategorized/anamorphics-and-the-hot-rod-pl/comment-page-1#comment-233 Peter Jordan Thu, 14 Jan 2010 05:30:22 +0000 http://www.hotrodcameras.com/?p=712#comment-233 Following your progress, hearing the buzz, looks like my new direction is GH-1 plus Hot Rod, keep me posted. Following your progress, hearing the buzz, looks like my new direction is GH-1 plus Hot Rod, keep me posted.

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