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Anamorphic Converter Lens. Is it worth it?


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#1 jakekjohnson

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Posted 19 June 2007 - 02:15 PM

I am the DP of a feature film that is going to start shooting in the next month. The AD is insisting that we use an anamorphic lens on our DVX-100A. I have been playing around with it, and it seems to be more trouble than it is worth. The image won't un-squeeze in the viewfinder, and since I am the camera operator as well, and we are shooting a lot of hand held, I can't be looking at an external monitor the whole time I'm shooting.
Should I just tell the director that it is more trouble than it is worth? Because it is starting to seem like it to me.
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#2 Leo Anthony Vale

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Posted 19 June 2007 - 02:25 PM

The image won't un-squeeze in the viewfinder, and since I am the camera operator as well, and we are shooting a lot of hand held, I can't be looking at an external monitor the whole time I'm shooting.


A viewfinder image with a 4/3x squeeze is no big deal. I do it all the time.
If the framimg looks good on the squeezed image, it'll look good unsqueezed.

Will you need zoom through and extreme close ups?
Those could be problems. But the viewfinder, nah.
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#3 David Mullen ASC

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Posted 19 June 2007 - 03:18 PM

Why is the AD telling the DP how to shoot the movie? Are you telling him how to write the call sheets?
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#4 Glenn Hanns

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Posted 19 June 2007 - 04:20 PM

I am the DP of a feature film that is going to start shooting in the next month. The AD is insisting that we use an anamorphic lens on our DVX-100A. I have been playing around with it, and it seems to be more trouble than it is worth. The image won't un-squeeze in the viewfinder, and since I am the camera operator as well, and we are shooting a lot of hand held, I can't be looking at an external monitor the whole time I'm shooting.
Should I just tell the director that it is more trouble than it is worth? Because it is starting to seem like it to me.


Are you intending to do a crop of the 4X3 in post then, I think this would be more of a pain to frame up as well as the lack of resolution. Id go with the 16X9 adapter, especially for a feature. Zooms can cause strange results with the anamorphic adapter lens on so be careful. You could get a small LCD monitor that can switch to 16X9 and attach that on the camera if you were concerned.
Cheers, G.
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#5 chuck colburn

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Posted 19 June 2007 - 04:47 PM

Why is the AD telling the DP how to shoot the movie? Are you telling him how to write the call sheets?


Hahahahaha!
Shouldn't he be calling lunch break or something?
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#6 jakekjohnson

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Posted 20 June 2007 - 12:39 AM

There are going to be quite a few close ups.
I was also just going to turn on the 16x9 bars on in the camera and shoot it that way.
We also have a lot of steadicam shots, that would require somebody to carry the monitor with me. Or I would just have to go back and plug in the camera to the monitor and watch the shot to see if it was good or not.
This is an ultra low-budget film, so time is important.

As for the AD...yeah. She's a firecracker. <_<

How much will the image on the DVX benefit from the anamorphic converter anyway?
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#7 jakekjohnson

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Posted 20 June 2007 - 12:47 AM

I'm sure that if the AD continues doing what she's been doing...I'm sure I will have a very funny story to tell you.
I'm going to be shooting some tests with and without the Anamorphic lens tomorrow. If the difference is small to none, I'm going to tell the director that we are shooting without it.
I just like to see all of what I'm shooting as it will be on FCP and in the final product.

All I really need to know is if the lens is worth it on a very low budget film shooting with a DVX-100A with a lot of steadicam work and close-ups. And where we are in a time crunch every day.
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#8 jakekjohnson

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Posted 20 June 2007 - 01:34 AM

oops.

Edited by jakekjohnson, 20 June 2007 - 01:36 AM.

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#9 Leo Anthony Vale

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Posted 20 June 2007 - 03:12 PM

We also have a lot of steadicam shots, that would require somebody to carry the monitor with me. Or I would just have to go back and plug in the camera to the monitor and watch the shot to see if it was good or not.


You don't need to look a seperate monitor with an unsqueezed picture.

Honestly, working with a slightly squeezed image on the viewfinder is no problem.
Certainly far less than concentrating on a seperate monitor that someone else is carrying when you should be concentrating on your subject instead.
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#10 jakekjohnson

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Posted 20 June 2007 - 10:05 PM

You don't need to look a seperate monitor with an unsqueezed picture.

Honestly, working with a slightly squeezed image on the viewfinder is no problem.
Certainly far less than concentrating on a seperate monitor that someone else is carrying when you should be concentrating on your subject instead.


We chose to go without the Anamorphic Converter. I have been using it lately, and have not liked the squeeze.
I just prefer to have the image in the viewfinder as it will look in the final product.
Thank you for all of your responses, by the way. This is a very helpful place!
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#11 Ash Greyson

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Posted 22 June 2007 - 12:37 AM

I love the extra rez but it is a PAIN to use, I personally wont ever use one again. Good call.



ash =o)
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#12 Marco Leavitt

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Posted 18 July 2007 - 12:53 PM

Did you finish the shoot? These two products would help.

http://www.schneider...C...76&IID=1731

http://www.schneider...C...76&IID=1729

By the, I much prefer to unsqueezed mode in the eyepiece. It's easier to focus. They letterbox on the flipout LCD you lose a lot of resolution.

Edited by Marco Leavitt, 18 July 2007 - 12:54 PM.

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#13 Chris Keth

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Posted 18 July 2007 - 05:11 PM

Good choice to go with your gut. David has a really good point. As much sway as producers have, you as the DP also have a lot and shouldn't be afraid to use it (in a respectful way).
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