The de-squeeze factor tells you how much the image is compressed. This is because the lenses produce an image that's compressed in width and require it to be stretched in post to be properly displayed. With anamorphic lenses, you will often see a 'de-squeeze factor' next to the name – most often 1.33x, 1.8x, or 2x. Essentially, these lenses maximize the use of any sensor by fitting more footage onto it, resulting in a wider aspect ratio without degrading image quality. What is an anamorphic lens? Put simply, an anamorphic lens changes the dimensions of an image in one axis allowing for a wider field of view. For PL mount users there is a similar range, which features an anamorphic squeeze of 1.33x. The SLR Magic's Anamorphot Cine 352XMFT 35mm lens is also available as a set, together with the 50mm T/2.8 and 70mm T/4 MFT lenses (also available individually). Included with the lens is a hard transport case and 15mm rod lens supports. The front of the lens rotates as you focus, however, which may affect your choice of matte box. ![]() The lens has the widest aperture of T/2.4, features geared focus and aperture rings, a minimum focus distance of 1.1m, and 82mm front filter thread that allows you to screw in filters and dioptres to reduce the minimum focus distance. SLR Magic's Anamorphot Cine 352XMFT T/2.4 lens is a 35mm 2x anamorphic cine lens to fit MFT cameras which, when ‘desqueezed’, produces the full widescreen look with a real 2.66:1 aspect ratio. Still, if you can get the setup right, the SLR Magic Anamorphot-50 2x adapter supports focal lengths between 35 and 100mm for APS-C and MFT format sensors (but only 70 to 100mm for full-frame format sensors) so it could provide an anamorphic look to most if not all of the lenses you use for filming. And because the adapter will probably weigh as much as your lens, you will need some kind of lens support. Limitations in close focusing mean you will probably want to use dioptres such as the SLR Magic Rangefinder if you want to focus closer than 2m or so. Firstly you need to make sure the lenses you already have are compatible – with a native 62mm rear thread the SLR Magic Anamorphot-50 2x adapter is only suitable for lenses that have a front element size of 50mm or less. In theory options like the SLR Magic Anamorphot-50 2x adapter and its cousin the SLR Magic Anamorphot-40 1.33x adapter are a perfect choice. ![]() The use of an anamorphic adapter can be an ideal solution if you have a camera setup with multiple lenses and you want the anamorphic effect across them all. Although this method achieves a cinematic look, it also degrades the footage and results in lower-quality images. One common practice is to convert a 16:9 camera image shot on a standard lens into a 2.4:1 cinematic aspect ratio via post-editing applications. While filmmakers and videographers talk increasingly of the widescreen cinematic look that the best anamorphic lenses can provide, you make be surprised to know that anamorphic lens cylinders were first developed for tank periscopes during World War I to get a wider look outside.įilmmakers are constantly looking for ways to improve the aesthetics of their film, using dedicated cine lenses, as well as color grading and aspect ratio manipulation in post-production. ![]() It is surprising how often technology developed for one application finds use in another, for which it then becomes ubiquitous. No longer do you need an anamorphic projection lens to correct the squeezed image now this can all be done in post-production. ![]() While anamorphic lenses became popular in analogue filmmaking, as cinematographers explored the visual impact of the wider CinemaScope aspect ratio, they have enjoyed a surge in popularity among digital filmmakers who want to use the best cine lenses available.
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