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05-02-2007, 10:34 AM
Ah, thanks. In your opinion would there be any resolution advantage (Vs. asthetic) to a set of good 1.33x anamorphics for Red Vs. a center crop to 2.35:1?
My feeling was that the optics would take away more than they gave. But I have not shot anything anamorphic before.
05-02-2007, 11:10 AM
It makes more sense in film, where a 2X anamorphic means that you will use a lot more negative area than cropping to 2.35, if you are shooting 4-perf. There would even be some advantage for a 3-perf (16x9) negative with 1.33X anamorphics, to reduce grain mainly.
With a 4K digital camera, there is less advantage since you aren't dealing with grain. You'd probably get a smoother texture from using more pixels, maybe slightly less noise, but not really an improvement in sharpness. But then, since the lenses don't really exist, we don't know for sure what the improvement would be -- it depends a lot on the quality of the anamorphic lens, which is why I don't think simple anamorphic attachments to the front are going to cut it.
05-02-2007, 01:50 PM
How about getting a "Panavised" lens mount on the RED and using Panavision glass?
05-02-2007, 02:34 PM
I never shot anamorphic but I like the wide screen. Apart form the optical looks aspherical lenses create I thought of a way I perhaps would go with RED:
1. Shoot 4k spherical with scope guide lines (cropped picture in VF / monitor)
2. Transfer in RED CINE to 2K anamorphic 2:1 (like conventional 35mm cinemascope 2K scans)
3. Print to film.
An thoughts?
Hans
05-02-2007, 03:11 PM
Panavision anamorphic lenses have the standard 2X squeeze, so on a 16x9 sensor (1.78 : 1) you'd end up with a 3.56 : 1 aspect ratio. By the time you were done cropping the sides to get to 2.39 : 1, you wouldn't be any better off than cropping normal 16x9 to 2.39 vertically.
As far as filming-out to 35mm anamorphic from normal RED photography, just as with any spherical photography, you'd frame for cropping to 2.39, but you'd save the crop & stretch to 2X anamorphic for the laser recorder step.
From your full-frame 16x9 master, you'd make any full-frame, letterboxed, and pan & scan versions for home video submasters. For digital projection, you'd make a version that was cropped to 2.39 (probably something around 2048 x 857 for 2K projection and 4096 x 1714 for 4K projection.)
05-11-2007, 05:46 PM
There is a solution if someone wants to shoot 2:36:1 ratio on Red, the 1.33X anamorphic converter. Based on Red's format of 16:9 ratio, if you add a 1.33X anamorphic in front of the lens, you will get squeezed image on horizontal, which means that you will keep the field of view on vertical same and widen the field of view in horizontal by 1.33 times. The true ration will be 2.36:1 with 1.33X anamorphic converter.
05-11-2007, 05:53 PM
There is a solution if someone wants to shoot 2:36:1 ratio on Red, the 1.33X anamorphic converter. Based on Red's 4K format is 16:9 ratio, if you add a 1.33X anamorphic in front of the lens, you will get squeezed image on horizontal, which means that you will keep the field of view on vertical same and widen the field of view in horizontal by 1.33 times. The true ration will be 2.36:1 with 1.33X anamorphic converter.
05-12-2007, 07:28 AM
And where we can found the 1.33x anamorphic adaptor?Originally Posted by Jim Zhang
05-12-2007, 01:20 PM
I have two anamorphic adaptors made for some Fujinon lenses by Todd AO. They are very large and were on lenses with about an 80mm front end and the front of the adapters are about 6 inches across.
I think they are 1.5x but not sure.
I removed one of them from the lens it was on but don't really have the patience or the tools to work on them properly. I would be willing to sell them or work with someone to develop them into something useable if anyone is interested.
05-15-2007, 01:07 PM
2 years ago I made the first feature in real 2.35 using varicam and F900 (info), so I've been researching different ways of doing the 2.35 picture.
Since I asked about the 1.33x anamorphic lenses I was wondering about if there's out any system. Well... EXISTS from an european company, and it's specially design for super 35, super 16, and of course is perfect to work with a RED. I've just tested the lens and I can't tell anything right now, but it works really really nice.
I can't wait to test with a RED.... 4k with anamorphic is going to have an incredible resolution!
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