7/13/2023 0 Comments Atlas anamorphic on movi pro![]() In fact, just a reminder, that lenses often look as bad if not worse than wide open when stopped all the way down. Plus when you're shooting that wide you start introducing other lens distortions that won't be in the original.Īnamorphics also won't be that wide, they generally don't focus as close and they certainly won't be at their best in that situation. You'll find the DOF roughly the same once you match the relative image size as far as perspective anyways. All that happens is that you have to move the object closer.much closer to get the same relative image size on film. You will also find there are no cheats with using wider lenses. But a wide shot of a room in low-light with a lot of anamorphic distortion in the plate, with a pan or track in the shot and perspective changes, well, many efx compositors will have an easier time with spherical footage if you have to layer in objects into the shot that would have to track, bend and distort with the original anamorphic plate.ĭepends on the scale but you generally always want to shoot your miniatures at the deepest F stop you can. For example, a wide shot of a landscape shot in anamorphic in daytime in which you are going to add a digital matte painting, doesn't really make a difference whether you shoot the background in anamorphic or not, so if the anamorphic version is going to have better resolution, then go ahead. ![]() Sort of just depends on what is more important for that shot, how hard will it be to add extra elements to the shot, etc. The grey area becomes live action elements and whether to shoot those in spherical or anamorphic. In fact, the majority of anamorphic movies have efx elements shot with spherical lenses - "Star Wars" for example. For a digital movie shot in anamorphic, switching to spherical lenses for miniature efx work makes sense. If you are shooting digitally, however, this is less of an issue. So it makes sense to shoot those elements with spherical lenses stopped down for a lot of depth of field.Ī few anamorphic movies have even gone so far as to shoot the efx in ordinary Super-35, not VistaVision - such as "Lost in Space" - though the problem starts to be that in this case, the anamorphic photography is finer-grained than the Super-35 efx because it uses more negative for a 2.40 image. ![]() So for miniature work that is meant to look like a large object in the distance, you actually don't want to see anamorphic bokeh, you'd want a deep-focus shot. Anamorphic bokeh is more obvious in close-ups with an out of focus background. It's not unusual for 4-perf 35mm anamorphic features to have efx elements shot in VistaVision (8-perf 35mm) or 5-perf 65mm, which are spherical formats, for many reasons - one is that it's better and easier to shoot miniatures with spherical lenses.Īlso, miniatures are often used for, in effect, "wide shots" in movies - and in an anamorphic movie, wide shots often do not show anamorphic artifacts anyway (except for lens flares) because the focus is naturally set in the distance. ![]() Are there anamorphic lenses that short?Ĭan some miniature elements be shot with spherical lenses, or will this pop out like a sore thumb and blow the whole effect? Some advice suggested the miniature should be a shot on a very short 10mm or so lens in order to get enough DOF to keep the miniature in focus. Does this make it impossible to pull off the composition? I'd like the bulk of the film (the landscape) to be shot on anamorphic. Compositing a green-screened miniature that's blown up 12-15x onto a landscape (say: the squirrel that ate Manhattan). OTHER Tokina/Duclos 11-16mm (PL-mount) T2.8 Sony G-Master 24-70mm (E-mount) F2.8 Canon L Series 16-35mm (EF-mount) F2.8 Canon L Series 24-70mm (EF-mount) F2.8 Canon L Series 70-200mm (EF-mount) F2.8 Canon 150-600mm wildlife lens (PL-mount) T5.Here's the situation. FULL FRAME Arri Signature Zoom 45-135mm T2.8 Fujinon Premista 28-100mm T2.9 Angenieux Optimo Ultra 12X FF 36-435mm T4.2 Angenieux EZ-1 45-135mm T3.0 Angenieux EZ-2 22-60mm T3.0 Zeiss Compact Zoom 28-80mm T2.9 (EF/PL) Zeiss Compact Zoom 70-200mm T2.9 (EF/PL)ĪNGENIEUX LIGHTWEIGHT S35 Angenieux Optimo 15-40mm T2.6 Angenieux Optimo 28-76mm T2.6 Angenieux Optimo 45-120mm T2.8 Angenieux EZ-1 30-90mm T2.0 Angenieux EZ-2 15-40mm T2.0 Angenieux DP Rouge 16-42mm T2.8 Angenieux DP Rouge 30-80mm T2.8 Angenieux 35-140mm T3.6 (vintage)ĪNGENIEUX STUDIO Angenieux Optimo Ultra 12X S35 – 24-290mm T2.8 Angenieux Optimo Ultra 12X U35 – 26-320mm T3.1 Angenieux Optimo 17-80mm T2.2 Angenieux 20-120mm T3.6 Angenieux HR 25-250mm T3.5 Angenieux HP 25-250mm T3.7
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