When digital television was created somebody developed the 16:9 aspect ratio because it was the middle term between the old 4:3 TV aspect ratio and the 2,35:1 cinema aspect ratio. The math is 4:3 x 1,33 = 16:9 and 16:9 x 1,33 = 2,37. So the old tv 4:3 aspect ratio could be shown with pilar box and the cinema 2,35 ratio could be shown with letter box, similar black size for both in the new digital tv screen.

If the Cinemascope and Panavision systems was created to attract people with a bigger screen, so it does not make sense to make films in 2,35 aspect ratio today because the television sets will show a smaller image instead of fill all the screen.

Also cinema theaters today have screens prepared to show the 16:9 aspect ratio and when you see a 2,35:1 film in the cinema theaters today, there are black screen in top and bottom.

So, for TV and Cinema 16:9 is the way to go. If you want the beautiful anamorphic flares and oval bokeh, you can use anamorphic lenses, but better decision is to edit the final movie in the 16:9 aspect ratio.

Student in need!

I hope I'm not making this an unnecessary post.

a nice thought though, I can dream can I?

https://www.ebay.es/itm/153004359272?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

Rectilux Core DNA - NEW!

FEATURES & SPECIFICATIONS

. Rectilux High Performance Optics 4K acquisition friendly and beyond Non-rotating & retracting front element F1.2 maximum usable Fstop (full frame camera)

. Matte-box friendly Fixed axial position MOD 0.8 gear ring Replaceable MOD 0.8 gear ring Built-in screw or 6 bolt clamp-on system

. Fully compatible with Rectilux accessory range Super low weight and slender profile 6061 aviation grade aluminium

. Focus range 0.7m to Infinity (much closer with Floating Zone Focus*) Focus throw 180 degrees 86mm front filter thread 75mm rear attachment thread

Cheers,

Alex Roman

https://www.ebay.es/itm/153004371733?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

Schneider Super Cinelux Anamorphic 2x

MINT Condition!

Superb optics. Almost NO vignetting and crystal clear sharpness quility.

Cheers,

Alex

Any ideas or any products that you're familiar with?

We have received 4 email requests from members of this forum on the possibility of designing an Anamorphic lens. We had this thought for the past year and did a lot of research. There is one common request which is to have horizontal flares. The others requests did not have any common grounds. We came up with an idea for a 25mm f/3.2 1.35x or 35mm f/3.2 1.35x Anamorphic lens for micro four thirds. Shooting at 16:9 would give a 2.40:1 anamorphic output. Just before we decided to go ahead with the project we had a second thought. 2 Years ago we asked openly on dpreview.com forum for what photographers wanted and the general consensus was our SLR Magic HyperPrime 12mm T1.6 lens.

http://forums.dpreview.com/forums/read.asp?forum=1041&message=36104678

It did not fulfill the needs and wants of everyone but we made what most people agreed on by means of a discussion. It ended up being a popular lens that we still are having problems meeting demand and we think it had a big part to do with asking photographers. If we did not ask around we probably made a 12mm f/2.8 lens. As it turned out quite well last time we want to make our next lens an open discussion again.

Here are some of the possible options we received and please feel free to throw in extra ideas. I hope people experienced with shooting in Anamorphic can also throw in ideas.

Anamorphic Adapter (1.33x, 1.5x, 1.75x, 2x) Dedicated mFT Anamorphic adapter for reasonable size Anamorphic adapter compatible with FF lenses 50mm f/2.8 Anamorphic lens (FF, APS-C, or mFT) Expected MSRP (Sad fact but it as direct correlation to IQ)

Kind rgds., SLR Magic Team

P.S. We will be at Photokina 2012 and would like to welcome any cinematographers with Anamorphic lens ideas to drop by our booth for idea exchange! We will be in Hall 3.1 B059

here is the link to the ad on gumtree https://www.gumtree.com/p/lenses/carl-zeiss-anamorphic-lens-metal-box-manfrotto-lens-support-diopters/1137255921

I guess if you have the new SLR Magic Range Finder you will NOT need the Diopters! Hmmm.

im asking £260, i work in central London and finish around 6:30pm so can meet for viewing. im willing to drive within reason to meet on week ends ONLY. All the best stuart - 07792095890 - prefer texts as i work in a basement and don't get a strong signal.

Check out the video here:

and here:

The system works by digitally synchronize the taking lens and the anamorphic projection lens through encoded follow focus unit, and motor controlled focus ring

and here:

http://www.vimeo.com/campcomet/anmamorphic (not a typo)

3.55/Non tweaked version

From the vimeo description: > WARNING: CAMERA SHAKE

I had to hold up NDs while trying to handheld and focus at the same time. You have been warned.

Music: Anma Mama - Eureka 7: Astral Ocean

UNCROPPED/NON SCAN VERSION/NON TWEAKED VERSION HERE: ( soon)

Hot Rod Cameras PL mount Kowa Anamorphics (40, 50, 75, 100) from Blacklist Productions GH2 w/Sedna Q20 Hack @ 1080/24 and 720/60 Smooth

Composed with TVLogic 5.6" w/2.40 stretch (close enough)

Just grabbed some whatever-kinda-footage to test out the new old set of Kowas. Really like them, much better than the set of Lomo squarefronts that I've used. Not Hawks or Panavisions but I'm considering shooting my next few projects (feature film included) on this set.

Stuff was lightly tweaked in final cut, just a straight log and transfer no 5DtoRGB this go 'round.

Interestingly enough I found a really cool way to rig up the Hot Rod PL mount, a Noga Arm, and a 5.6" that helps me hold it all a bit steadier...

UNFORTUNATELY... I had to hold up NDs while trying to handheld and focus at the same time as you were warned up front.

Will have to work that situation out, but it was still fun.

Desqueeze Process:

1. Convert from AVCHD to ProRes (was probably LT honestly) in Log and Transfer
2. Change Aspect Ratio in FCP on All Clips (drag one to the timeline, get the aspect ratio down, copy, drag all of your clips to the timeline, select them all, click paste attributes, select basic motion and distortion, click apply, drag all clips on the timeline to a new bin at once)
3. Adjusted the image as I saw fit as far as center

The reason I did this? Didn't see any worthwhile difference or benefit to doing another file conversion just to get the aspect right, nor did I think the time spent was worth losing the ability to reframe even if it was left to right.

Others mileage may vary.

If you're interested in pictures of the rig you can ask me.

Will put some pictures up of the rig here, forgot them on the work tower.

will cost $799 for the anamorphic adapter.

Product is on testing phase, but as it says on article product will not change from final design. They need testers pre buyers.

The volunteer test kit contains the following -

• SLR Magic – ANAMORPHOT 1,33 x 50 (RRP $799)
• SLR Magic 35mm T1.4 CINE II is (RRP $499)
• SLR Magic +0.4 Achromatic Diopter 77mm + SLR Magic +1.3 Achromatic Diopter 77mm (RRP $299)
• SLR Magic will offer the above set to volunteer testers for a reduced price of $1300.

Link removed. Selling of SLR Magic lenses on P-V is prohibited from now on.

More images will be uploaded soon.

1. Rokinon 85mm
2. S.T.O.P Hypergonar H. Chretien 35mm anamorphic lens
3. GH4 camera
4. Rapido V2 Clamp

We used a lot of lenses, from Voigtlander and Panasonic to Samyang with SpeedBooster XL, passing through some Chinon and Fujian 25mm C-Mount, allways with SLR Magic anamorphic adapters, we wanted the unsqueezed look.

Have a look.

PS: the aerial footage was done with a Phantom 3

SLR Magic Anamorphot 1,33 50
- 3 Diopters +1 +2 +3 Tiffen Series 9
- Adapter Ring for Series 9 tiffen filters 77mm
Price: 880 UK Pounds + Shipping

Sigma 18-35mm F1.8 ART - Nikon mount
Price:525 UK Pounds +Shipping

GoPro Hero 3 Black Edtion + Touch LCD
- Touch LCD
- 3 Extra Batteries
- 1 External Charger
- Chest and Head Strap
Price:370 UK Pounds + Shipping

-Will Ship internationally
-PayPal Payment

Thanks!

Full article here: http://www.newsshooter.com/2016/01/27/real-anamorphic-for-less-the-rectilux-3ff-w-single-focus-adapter-reviewed/

I do not care about any other features, I just want it to be around 7'' or 10'' and able to produce 3.55:1 anamorphic or 1:1 square image.

It can be plasticky, heavy, I don't mind chinese-grade quality, just need it to be able to produce ratios that I mentioned above and fit BMPCC.

Main issue is the price point – I am on a very tight budget.

Thanks!

• 3 SLR Magic diopters achromatic close up anamorphic set +0.33 +1.3 +1.8 (77mm thread)
• 1 Tokina +0.5 (72mm thread)

Normal trace of use, slight cleaning marks, tiny dust and tiny scratch. Will not affect the image at all

sold with their original boxes. 300€

Once again thanks to the ones that use their brain and take time to create some crazy good things !

I have a question about 4K photo mode.

For those who don't know, it enables to record 1:1; 4:3 and 3:2 image.

Here are the image sizes possible:

• 4K UHD 16/9
• 3840x2160
• 4K Anamorphique 4/3
• 3328x2496
• 4K Photo mode in mp4
• 1:1 2880x2880
• 3:2 3504x2336

With the combination of an anamorphic lens it allows in 1:1 for example, to shoot in 2x time anamorphic with a 16/9 ratio. (not exactly 16/9, maybe 17/9 or 18/9…)

It is awesome because you can have the benefit of shooting anamorphic without being restricted by the "cinemascope" format. This format is nice but may not be appropriate for all movies and anamorphic also has other great attribute :

• different bokeh.
• wider field of view.
• flares for those who like them.

So you'll tell me what's the problem ????

When you enter this 4K photo mode and want a live output via HDMI you need to have a 422 10bit output feed. This 422 10bit option disable the recording on SD card…

And as the output is via HDMI it can only output 4K…so all the various picture sized written above are downscaled to enter in a 4K size… For exemple the 2880x2880 become 2160x2160 in a 3840x2160 so you get a 4K UHD ratio with a square image on it, and so black recorded on left and right.

If you edit in 1080 HD, this 1:1 ratio recorded by 4K HDMIwith a 2x anamorphic, is used by 100% wide and 50% height… So that's not to bad but a little bit of deception as well.

I've tried this morning with a Atomos Shogun recorder I had a chance to use at a production company.

I really plan to test with a Odyssey 7q+ but I think it will be the same because all those equipment are made to work with standards and limited to 4K…

I don't understand why Panasonic made this limitation and in the same time gives us those possibilities (1:1, 3:2…)… They don't have a higher camera to be canibalized (like Canon with 5D and C300…) and they don't sell 4K portable recorders…

SO MY QUESTION IS : May GH4 be hacked ?

to allow 8bit HDMI output with 4K photo mode ?

or to allow recording 10bit 422 on SD ?

I understand the second option may be limited by hardware of the GH4 or by the speed of the SD cards.

The benefit would be 1- having the choice of the image ratio ! 2- having the ability to desqueeze image that I think is a necessity to have a good framing for the operator or other people of the staff/ client

Am I dreaming ? Maybe…but so sad to have the perfect tool for anamorphic and having to use it in a crazy/dangerous/not precise way !

And I don't believe the feature will be unlocked in GH5…

THX for reading! Best .V

Let me recap. We shot the short on an fs700 coupled to an Odyssey 7q+. Wonderful, powerful couple, even if I'm not the biggest fan of Sony colors. I decided to stick between 2000 iso and 6400 iso for night shots, as we didn't have the budget for a lot of lighting equipment. 6400 iso noise is a bit bad, but workable. At most I could augment and mold natural light. We decided pretty early on that Anamorphic lenses would add a cinematic twist but also contribute to a sense of realism / immersion we were after in the production. Now, these new and very expensive anamorphics are sharp enough / corrected enough to be shot wide open and the mechanics are obviously top notch, making them as functional as any high quality spherical lens. Another things is; the short was shot almost entirely hand-held and when it comes to anamorphics, that can really skew things up badly if an adapter is only slightly off axis f.i.. I was a bit worried during the first day of shooting, as we didn't have a working live-grade setup for correcting the footage, however, I did not need to. These are perfectly corrected to not skew things up in a bad way, no matter how you shoot.

We ended up with the Cookes as the Arri/Zeiss ones had been booked by someone else, but they did not dissapoint one bit. After checking some tests online I chose the 40 and 75 as the former looked to have less CA / have better correction than the wider 32, while the 75 had some CA but allowed for different framing (The Arri Zeiss ones seem to be pretty identical, but the Cookes have some differences in-between them) and differences in distance emphasis, depending on location space. The lenses are massive, over 2 kg's, and I had to put together pieces from 2 different rigs to make it work, all in all we ended up with setup weighing in at around 10 kg's. After that, however, we hardly had to think any differently, though at the end of the shoot my eyes seemed to want to squeeze reality into 2x.

The bottom line, having lenses of this quality in the production allowed us to use anamorphics in the first place, to get a clear anamorphic look without the potential caveats of working with them, never taking time from the shoot. For a more extreme look, well, you may have that option with a bigger budget but then again, it's always possible to push things in the grade. (in doing both I retain control)

The lenses can be used at 2.3T (with sufficient sharpness), though I prefered to stay at 2.8 for most night exteriors. I'll add some sample frames here shortly, and update when I get into pregrade. If there are any surprises, I'll let you know.

The second post are my initial thanks.

The third post are my first ideas, posts from me copied from the topic where this idea was born. This is the link to it: http://www.personal-view.com/talks/discussion/4466/most-wanted-anamorphic-lens/p1

Following posts are the development in progress and you can do your posts to say your thoughts, be welcome.

In good condition- might be some small dust specs inside but nothing that'll ever show up optically especially with an anamorphic attachment. You can even take the entire lens apart for cleaning.

PM me with any questions or concerns.

Great for M4/3 cameras.

http://www.ebay.com/itm/Bolex-Moller-Anamorphot-Anamorphic-8-19-1-5-with-collar-/191506829882?

please feel free to ask any questions