Jump to content


Photo

Anamorphic Super 16mm


  • Please log in to reply
4 replies to this topic

#1 Brad Grimmett

Brad Grimmett
  • Sustaining Members
  • 2660 posts
  • Steadicam Operator
  • Los Angeles

Posted 12 February 2007 - 09:28 AM

I worked on a music video the other day and we shot with a SR3 and Panavision anamorphic lenses. I didn't ask too many questions about the reasons for this on set, but I'm wondering what the advantages are. Has anyone done this before? What was your reasoning behind it? Also, I'm wondering what the aspect ratio is. It was pretty darn wide, but I haven't attempted to figure out what aspect ratio it actually was. It was certainly a fun challenge keeping good horizons all day on steadicam. I only used three different lenses....the 28mm, 35mm, and 50mm. I believe they were C series. Since these are all pretty wide lenses I'm wondering what the distortion will be like on S16mm. Will it be less pronounced than in 35mm?
OK, I think that's enough questions. I'm interested to hear what you guys think.
  • 0

#2 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19769 posts
  • Cinematographer
  • Los Angeles

Posted 12 February 2007 - 10:17 AM

The aspect ratio will be 2X the normal horizontal width of S16, so 2 x 1.68 = 3.36 : 1.

But they'll probably trim the sides.

While a 28mm anamorphic is really wide-angle and distorted in 35mm, in Super-16, it would be more like using a 50mm anamorphic in 35mm, only moderately wide. Of course, if they trim the sides down, it becomes even less wide.

The only real advantage over simply cropping spherical Super-16 is when you want anamorphic lens artifacts.
  • 0

#3 Bernhard Zitz

Bernhard Zitz
  • Basic Members
  • PipPipPipPip
  • 342 posts
  • Other
  • Z├╝rich, Switzerland

Posted 12 February 2007 - 10:21 AM

but I'm wondering what the advantages are.

with frontal light you get this nice horizontal flares that only anamorphic lenses do, like in this squarepusher-video cunningham did some years ago...

and due to the longer lenses you get less DOF

It was pretty darn wide, but I haven't attempted to figure out what aspect ratio it actually was.


it doubles the width, so 2x1.66 is 3.32, that's pretty panoramic, :huh:

cheers, Bernhard
  • 0

#4 Brad Grimmett

Brad Grimmett
  • Sustaining Members
  • 2660 posts
  • Steadicam Operator
  • Los Angeles

Posted 12 February 2007 - 07:21 PM

The aspect ratio will be 2X the normal horizontal width of S16, so 2 x 1.68 = 3.36 : 1.

But they'll probably trim the sides.

While a 28mm anamorphic is really wide-angle and distorted in 35mm, in Super-16, it would be more like using a 50mm anamorphic in 35mm, only moderately wide. Of course, if they trim the sides down, it becomes even less wide.

The only real advantage over simply cropping spherical Super-16 is when you want anamorphic lens artifacts.

3.36:1....yikes! Now I'm getting scared to see how my horizons look! :o
I'm sure they'll trim the sides, but I don't think they know how much. They certainly didn't make it clear to me on the day.
I realize the lens artifacts are a reason someone would want to shoot this way, but I was under the assumption that there were other reasons. We did let things flare here and there, but I never got the impression that that was the only reason for using anamorphic lenses. But I never really got any reason for why we were doing it, so it may have just been "one of those things".
  • 0

#5 Brad Grimmett

Brad Grimmett
  • Sustaining Members
  • 2660 posts
  • Steadicam Operator
  • Los Angeles

Posted 30 March 2007 - 04:47 AM

So the video I referred to in my original post has finally hit the internet. Let me know what you think.
youtube
MTV2
I couldn't get the mtv2 link to play...maybe there's less compression than the awful youtube link.
  • 0


Wooden Camera

Visual Products

Opal

Technodolly

Ritter Battery

Metropolis Post

Broadcast Solutions Inc

Paralinx LLC

Glidecam

Abel Cine

Willys Widgets

CineTape

Rig Wheels Passport

Aerial Filmworks

Media Blackout - Custom Cables and AKS

The Slider

CineLab

Gamma Ray Digital Inc

Tai Audio

rebotnix Technologies

FJS International, LLC

Abel Cine

CineTape

Tai Audio

The Slider

Media Blackout - Custom Cables and AKS

Opal

Gamma Ray Digital Inc

FJS International, LLC

Wooden Camera

rebotnix Technologies

Metropolis Post

CineLab

Technodolly

Aerial Filmworks

Visual Products

Rig Wheels Passport

Willys Widgets

Broadcast Solutions Inc

Ritter Battery

Glidecam

Paralinx LLC