Anamorphic Format for RED

[KMayry]

I see that Dalsa is planning to launch their own set of anamorphic lenses for their 4k camera lines. I'd like to see Red do the same. I love the look of the films shot in scope.

K Mayry

[chuck colburn]

Cylinders are one of the hardest optical shapes to generate. Probaly best just to rent.

[David Mullen ASC]

First someone would have to build a set of 1.33X anamorphic PL-mount lenses before you can rent them...

[Graeme Nattress]

Dalsa anamorphic lenses are only very mildly anamorphic as their sensor is 2:1 to begin with. That means you get very little of the benefits of the look of anamorphic in terms of bokeh and lens flares, and all of the hassles.

If you want the anamorphic look, you've got to use real anamorphics. Using Dalsa won't get you the look you crave.

Graeme

[Emanuel A.]

First someone would have to build a set of 1.33X anamorphic PL-mount lenses

This would be a great RED offer indeed...

[Matt Uhry]

Hi Graeme,

I looked at the Dalsa anamorphic 75mm lens at NAB and it actually had very nice Anamorphic characteristics. More than I would have guessed based on the 1.22 Squeeze. Did you have a chance to look at it at NAB - not like it was busy or anything at the Red booth.

Dan Sasaki formerly of Panavision, now of A+S, designed Dalsa's lenses and is a very highly regarded designer of cine lenses...

I believe Illia Friedman mentioned that the glass was ground and coated to their specs by Leitz Canada.

Matt Uhry
www.mattuhry.com

[David Mullen ASC]

I do question though the need for an anamorphic lens on a 4K camera with a nearly 2:1 sensor like the Dalsa has, even though I like anamorphic photography. In some ways, it's an ideal shape in that you either crop a little on the sides for 1.85/16x9, or a little top & bottom for 2.35. 2:1 would almost be the ideal shape for an HD monitor to watch cinema features on for the same reason (sort of the Storaro idea of the Univisium format).

I think it's really the 2K digital cameras with 16x9 sensors like the Genesis that could use some 1.33X anamorphic lenses to create 2.35 with a maximum use of pixel area to preserve resolution. Once you start talking about a 4K camera, it doesn't seem like such a resolution hit to just crop 16x9 to get 2.35, so the main reason at that point to use anamorphics would be for their unique optical artifacts.

[Graeme Nattress]

Any resolution gain is negated really, as you can't project it as 4k projectors are all 4k flat!

No, didn't see it at NAB, just read about it. Not saying it's not good quality, but am saying I think it's missing the point!

Graeme

[Illya Friedman]

No, didn't see it at NAB, just read about it.

You might actually want to SEE the lenses before you make such judgment calls. We'll have some at Cine Gear.

I.

Illya Friedman
Dalsa

[Graeme Nattress]

But Illya, I'm not judging the lenses at all. I don't need to see them to know they're not a 2:1 squeeze. If they're not a 2:1 squeeze they won't look exactly like the anamorphic scope crazies want their lens flares to look like. If I'm judging anything, it's the logic of a semi-scope lens on a 2:1 4k sensor.