Thanks so Much Gene and Kari ! Really appreciate the opportunity to discuss Anamorphic lenses with you, and happy to answer any questions from your community and viewers !
Do you think it would be physically possible to make an orion lens, but the size and weight of a greatjoy lens, with the same characteristics than orion? Or it is simply impossible for practical reasons?
Do you want a smaller Orion ? There has to be some compromise - for example : you can make a smaller lens with Orion style architecture but slower T stop and without a cam mechanism for focus (look at vintage JDC Crystal Express). Setting attributes for a lens design gives you a set of constraints to work within. Look at how small a vintage Kowa anamorphic is - but they do have slight mumps and some other distortion attributes that people either love or hate. I would recommend Mercury if you want something smaller - if you want a smaller Orion, let us know that too ! We are always thinking about what cinematographers want because many of us at the company are cinematographers - but it’s challenging because not everyone wants the same thing, so we try to do what we think is right and will help the people and the industry in the right direction.
He hates lens flare and focus breathing. He also seems to prefer Arriflex over Panavision, and Panavision’s Primo anamorphic primes are one of the major reasons many DPs like Panavision (anamorphic lenses were the original basis for Panavision when it was founded. That’s always been their biggest feature). If you weren’t shooting anamorphic, there was less reason to rent from Panavision. I worked at an Arriflex rental house (Lee Utterbach Cameras) in the mid 90s, and once in a while we’d sub rent Primos from the local Panavision agent (CineRent West). Their technician (his name was Tom) would replace the Panavision mount with a PL mount. This added to the expense, but some clients just don’t care and will give the DP whatever they want. I’m not a big fan of lens flare. A lot of it can be avoided by shading the front element of the lens with a hard matte, a French flag, a flag on a c-stand, or having a grip float a flag over the camera, Hollywood style. Or heck, a lens hood if you don’t have a matte box or flags or stands. Do people use lens hoods anymore? Do they even know they exist?
@@MarcosElMalo2 but Deakins is actually a huge proponent of shooting however you like to suit your style and story. Like once there was a roundtable of cinematographers fighting uselessly about film vs digital, Deakins was visually annoyed and just said, shoot what you like how you like, this debate is useless.
@@8lec_R I love that round table with him. The second it’s brought up, he clearly gets upset that they are wasting time talking about it and does not give a shit.
He shows them respect, knows when he doesn't know something, and not afraid to admit it, along with a will to listen and learn from those that do know. A bit of humility and respect goes a long way versus the brash personality a lot of youtubers like to give off.
Ditto to what Iain said, plus he's one of the few that has ACTUAL experience working on decently sized productions in Hollywood. A lot of the bigger RUclipsr's never got to that point, they were solo wedding photographers or made small commercials and then went into doing RUclips. Many of them lack any real knowledge in the production industry, outside of what they've read online or heard from other people.
Wow! Talk about customer engagement! I wish these guys all the success in the world. It's great to see real subject matter experts talking about their passion...
When the first re-boot of Star Trek with Chris Pine came out the first action shots of the Bridge of the ship are just beauty. It lens choice in that part of the movie added so much to the film. The scene lasted less an a minute but set the pace for the rest of the movie. From 25 miles north of London, have a great Xmas. Be lucky stay safe.
Such genuinely lovely and tremendously knowledgeable chaps! It’s a joy to see such passion and a desire to pass on that wealth of expertise to others. Thank you so very much Gene for sharing your experience of meeting the faces behind Atlas with us!
Love this company and their products! My coworkers and I always visit their booth at NAB and collect their merch. Gene, I ran into you this year but I didn’t want to interrupt your interview. Great video!
These lenses are incredible. My favourite are the Panavision T series but Atlas are looking like the second place contenders. Really great to ‘meet’ the owners.
Besides cool flares and oval bokeh the best thing with anamorphic lenses is how they make persons just "pop out" from the image. Hard to describe what it is. Almost 3D feeling.
Man. I need to figure out where to begin on this one. Gene, you, your crew, Dan and Forrest have completely knocked it out of the park, the country, and the freakin local universe. I am a camera/lens newbie (halfway through LAFS while working as a Sommelier for MFG / Carbone . . . @ 47 years old), and if it weren't for you and Josh Yeo, I don't know where I would be. Dan and Forest's lenses are already spectacular and unique, and the extra attention to education and inviting people to create is humbling and downright teary-eyed inspiring. ( I'm not crying; YOU'RE CRYING!) I am so grateful to live in this era, but that would not be giving the credit and acknowledgment that all of you deserve. Thank you so much for this video and this deep dive into not only anamorphic lenses but our craft of film and lenses. You and Josh have already turned me into more of a SuperNerd than I could have imagined in this aspect, and I'm so happy that I'm apparently not alone. Lol. Please consider expanding a series like this with deep dives and education; I've learned more through you and your introduction to complex material than I would have gotten in 2 years of amateur film school. This and the ARRI episode have been a couple of my favorites, but let's be honest, you pack amazing content into every episode. Thank you again; your commitment to putting something great out for everyone is clear. YOU. FUCKING, ROCK, MAN. Deuces from Dallas.
kudos for the table angle with the monitor displaying your guests. never seen this in any youtube video before. small idea thats pushing content quality forward
Hey Gene! Loved this video man. It's awesome to see people geeking out about cameras/lenses. I've been curious about anamorphic lenses for a while and this video really helped me understand everything a lot more! :)
I recently took the lens of my Nikonos Underwater camera (50 years old), and modified an adapter ring to mount it on one of my Blackmagic Cameras. It captured an image that I have never seen before. Parralex was completely eliminated. A unique look. I bought an Anamorphic Projector lens from a auction sale of an old Cinema some 40 years ago. It was a prop for all that time. Now I will need to brush up on my trigonometry and mathematics before I even open the box.
Very good. It'senjoyable listening to very smart people and seeing their mark within industry and the wealth of knowledge they carry on the subject. Learned quite a bit today. This company seems open and generous with their time and feel it beyond use as some marketing tool.
Music Videos (MTV) came along in the 80's, (spherical) flares were used creatively in general. Initially adopted for commercials and later (Anamorphic) flares were more widely accepted and used on feature films.
What a great video. Atlas is a name I heard of more and more and they seem like such a down to earth good people business. I loooove the anamorphic look and if I ever were to consider buying a single lens what focal length would you recommend? S35 or FF?
Thanks for sharing. May I suggest placing a dark color skirt (maybe with some Camera Gears Graphic) around your cargo cart will make you look more "professional"?
Great Video, great lenses, great Dudes. Love this kind of deep dives. Would love to see more like this (I know it is higher production effort, so maybe lower frequency) instead of the 10000th FPV Drone-Vid.
Watching this video has given me a pretty decent understanding of what anamorphic lenses are. Before that, I had no idea what the point of these were. Very nice. Now I want to get me some prime anamorphic lenses. Very expensive though.
7:49 i always wondered how the de-squeeze works. don't you add pixels that weren't on the sensor if you record on the full sensor and then de-squeeze the image?
@@dankanes4383 i know. if you go to the mentioned timestamp, gene says 'you're recording the whole sensor, then your stretch it out 2x'. so use the whole sensor, then enlarge horizontally. wouldn't that add pixels that aren't on the sensor?
There are a third and 4th way to deliver anamorphic as well. -Compressing / condensing some of the pixels in the vertical axis and stretching some of the pixels in the horizontal axis by either an equal ratio balanced between the two axes, or still disproportionately but less than the total factor of anamorphism in one axis. Second, desqueezing by multiplying the pixels on the lens’ axis of power, and for delivery condensing the overall pixel dimensions to fit into your delivery container on the axis of power. Example: Red Gemini 3600x3000 pixels for 2.40:1 delivery (6:5 aspect) - 7200x3000 with 2x anamorphic, shrink to a DCI container becomes 4096x1704 pixels with a matte of 228 lines of black pixels above and below your image. Is this a bad thing ? Maybe to some people ? I’ve never been one to promote the idea of anamorphic giving you more resolution - just a more pleasant picture. One could argue that 2x larger pixels in the horizontal axis just become astigmatic pixels - they’re wideboi pixels. One could also argue that pixel Count on a bayer pattern sensor should actually be considered far less than the number of pixels. Ultimately I find anamorphic lensing the most emotive choice in image creation - but there will always be great reasons to use spherical lenses too - whether for whole projects or just parts of them. My outlook is to try not to let other people define my cinematography goals only by the numbers - but to let the the three spheres of science, technology and artistry interact and influence each other to make the best possible picture.
@@dankanes4383, what a brilliant last answer here. Furthermore, some of my favorite creators of late are mimicking this sort of Trinity theme you just left off here. (Science, Technology, Artistry.) Really brilliant. For example, I am a Sommelier and Wine Educator, and a recent author I have turned people on to is Joe Campanale, who wrote Vino on Italian wine. He replaces a lot of old ideas or frameworks on how to interpret a Masterful wine with what he calls Vino Vero; these three spheres of influence touching each other; in his instance, he mentions 'Native Grapes, Exceptional Terroir, Artisan Winemakers.' On another note, you will see me with my BMPCC 4k/6k and Sony A1 in Glendale sometime soon. I will not pass up that amazing offer.
what many people never mention is that if you shoot anamorphic on red cameras you can just as well shoot with 16:9 only cameras. the Sensoe itself on red cameras is 17:9 and 16:9 so even the 4:3 mode on the red monstro doe not give you more vertical view it just crops internally the sides off ... so even if you have have a sony without open gate it is just not that bad
I still don’t understand why cinematic bokeh is taller than wider. If the film is squeezed on the horizontal axis when shot (so the raw film would have round bokeh?), why is the final aspect ratio, when it’s stretched out on the horizontal narrower??? Logic says the bokeh oval should be wider on the horizontal, not the vertical. What step am I missing?
Actually a great and reasonable question. When the in focus light rays hit the film strip or digital sensor, they are distorted by the anamorphic group to the compression coefficient of the anamorphic lens design (I.e. 2x for an Atlas Orion) the out of focus rays, because they are distorted to a higher Degree because of where they go through the lens’ entrance pupil. So for example - before desqueeze process those out of focus rays that make a bokeh spot could be like 4x skinnier than the actual point - it has to do with the disproportionate magnification of the anamorphic lens’ pupil. Kinda hard to explain, but this is in effect why bokeh is bokeh, the spot of light rays is magnified in a different manner because they are not being focused down to a point by the lens (when out of focus). Hope that’s helpful and not overly complex (it’s a very complex topic when getting down to the level of true science here)
@@dankanes4383 Thank you for your reply. I think I see my error. The raw animorphic film has a very squished horizontal image. And due to the way animorphic lenses capture light, bokeh/out of focus light is even more horizontally compressed. It’s so narrow horizontally, that when the film is stretched in post, the out of focus bokeh does not get stretched to “normal” like the in focused elements do. So while in focus elements now look correct, the out of focus/bokeh, never gets fully stretched on the horizontal, it doesn’t make it back to round. Thus the tall bokeh shapes. Is this right… or closer? Here’s a video with a lot of helpful info on the characteristics of animorphic and spherical lenses: ruclips.net/video/iiiwihwJH5Y/видео.html
Hahahaha hey that's my old Bausch & Lomb Cinemascope Adapter you guys are playing with (I think)! I sold it to Dan a while back...2 of them actually. Rare pieces of moviemaking history. Interesting to see what looks like an Iscomorphot-35 2x 50mm lens there on the table. Super rare. Great vid.
Good eye James. Thanks for the hookup - I’ll take more of these Cinemascope adapters if you find them haha. And yes! It is an Iscomorphot 35 Cine 50mm ! Pretty nice lens. Large image circle. One of the jewels of the museum. Come by and visit if you’re ever passing through LA!
Wow beautiful thanks for doing this what awesome info I luv anamorphic look everything shot on it just looks lush. I like sharp but not clean and sharp as life is not clean and sharp I think anamorphic does that mimics how we the human eye sees the world. But it’s not easy to achieve the look.
I need a suggestion. What do you think is better: shooting in black and white or shoot in color and then convert to black and white in post production?
If you have a good colorist, they can manipulate the color channels to change the weight of contrast in your black and white image if you shoot in color.
Gene , you are a beast. The angle with the 2 of them is beautiful. its simple but im drawn in. Great interview also!! $6,000 for a 1 lens...yikes! what focal length would you use to film an entire project, if you only had one lens?
Well I have something called Optical Flares in AE by Andrew Kramer and it has all of these flares puls some really wild ones which you cannot achieve by any lens in the world :'D
Hi ! We make the lenses with PL mount, but since you’re on E mount the best option is a high quality E mount to PL adapter with a support to your camera body via a cage for example. One of my favorite E mount adapters is from a company called C7adapters.
Thanks so Much Gene and Kari ! Really appreciate the opportunity to discuss Anamorphic lenses with you, and happy to answer any questions from your community and viewers !
Lookin' good Dan.
Thanks Dan and Forrest for sharing your expertise, this is one of the most informative and entertaining yt clips I've seen in a while.
What do you think of companies like sirui? do anamorphic lenses require a certain minimum price to be good?
Do you think it would be physically possible to make an orion lens, but the size and weight of a greatjoy lens, with the same characteristics than orion? Or it is simply impossible for practical reasons?
Do you want a smaller Orion ? There has to be some compromise - for example : you can make a smaller lens with Orion style architecture but slower T stop and without a cam mechanism for focus (look at vintage JDC Crystal Express). Setting attributes for a lens design gives you a set of constraints to work within. Look at how small a vintage Kowa anamorphic is - but they do have slight mumps and some other distortion attributes that people either love or hate. I would recommend Mercury if you want something smaller - if you want a smaller Orion, let us know that too ! We are always thinking about what cinematographers want because many of us at the company are cinematographers - but it’s challenging because not everyone wants the same thing, so we try to do what we think is right and will help the people and the industry in the right direction.
I love the irony of having Deakins book on the table in a video talking about anamorphic 🙃
He hates lens flare and focus breathing. He also seems to prefer Arriflex over Panavision, and Panavision’s Primo anamorphic primes are one of the major reasons many DPs like Panavision (anamorphic lenses were the original basis for Panavision when it was founded. That’s always been their biggest feature). If you weren’t shooting anamorphic, there was less reason to rent from Panavision.
I worked at an Arriflex rental house (Lee Utterbach Cameras) in the mid 90s, and once in a while we’d sub rent Primos from the local Panavision agent (CineRent West). Their technician (his name was Tom) would replace the Panavision mount with a PL mount. This added to the expense, but some clients just don’t care and will give the DP whatever they want.
I’m not a big fan of lens flare. A lot of it can be avoided by shading the front element of the lens with a hard matte, a French flag, a flag on a c-stand, or having a grip float a flag over the camera, Hollywood style. Or heck, a lens hood if you don’t have a matte box or flags or stands. Do people use lens hoods anymore? Do they even know they exist?
He shoot’s spherical and adds the bars.
@@MarcosElMalo2 but Deakins is actually a huge proponent of shooting however you like to suit your style and story. Like once there was a roundtable of cinematographers fighting uselessly about film vs digital, Deakins was visually annoyed and just said, shoot what you like how you like, this debate is useless.
@@8lec_R That’s awesome. 😊
@@8lec_R I love that round table with him. The second it’s brought up, he clearly gets upset that they are wasting time talking about it and does not give a shit.
Of all the RUclipsrs I follow, Gene seems to get the most respect from Hollywood. Great video!
He shows them respect, knows when he doesn't know something, and not afraid to admit it, along with a will to listen and learn from those that do know. A bit of humility and respect goes a long way versus the brash personality a lot of youtubers like to give off.
Ditto to what Iain said, plus he's one of the few that has ACTUAL experience working on decently sized productions in Hollywood.
A lot of the bigger RUclipsr's never got to that point, they were solo wedding photographers or made small commercials and then went into doing RUclips. Many of them lack any real knowledge in the production industry, outside of what they've read online or heard from other people.
Wow! Talk about customer engagement! I wish these guys all the success in the world. It's great to see real subject matter experts talking about their passion...
One of the best photo videos ever. The Atlas guys are great and inspiring. Potato Jet did a great job with the interview. Thank you.
When the first re-boot of Star Trek with Chris Pine came out the first action shots of the Bridge of the ship are just beauty.
It lens choice in that part of the movie added so much to the film.
The scene lasted less an a minute but set the pace for the rest of the movie.
From 25 miles north of London, have a great Xmas.
Be lucky stay safe.
And then when Abrams left and you get to Star Trek Beyond, they lost all that...
@@familygonzcartwright ain’t that the truth
Such genuinely lovely and tremendously knowledgeable chaps! It’s a joy to see such passion and a desire to pass on that wealth of expertise to others.
Thank you so very much Gene for sharing your experience of meeting the faces behind Atlas with us!
Love this company and their products! My coworkers and I always visit their booth at NAB and collect their merch. Gene, I ran into you this year but I didn’t want to interrupt your interview. Great video!
These lenses are incredible. My favourite are the Panavision T series but Atlas are looking like the second place contenders. Really great to ‘meet’ the owners.
These Atlas guys are the real deal. Artist innovators. Fascinating information!
WHOA. That was the BEST Video in a while... Great information, Detail and what a couple of GREAT GUYS with such a generous offer!
A much required discussion on the internet. Potato Jet done an incredible job.
Besides cool flares and oval bokeh the best thing with anamorphic lenses is how they make persons just "pop out" from the image. Hard to describe what it is. Almost 3D feeling.
Man. I need to figure out where to begin on this one. Gene, you, your crew, Dan and Forrest have completely knocked it out of the park, the country, and the freakin local universe. I am a camera/lens newbie (halfway through LAFS while working as a Sommelier for MFG / Carbone . . . @ 47 years old), and if it weren't for you and Josh Yeo, I don't know where I would be. Dan and Forest's lenses are already spectacular and unique, and the extra attention to education and inviting people to create is humbling and downright teary-eyed inspiring. ( I'm not crying; YOU'RE CRYING!) I am so grateful to live in this era, but that would not be giving the credit and acknowledgment that all of you deserve. Thank you so much for this video and this deep dive into not only anamorphic lenses but our craft of film and lenses. You and Josh have already turned me into more of a SuperNerd than I could have imagined in this aspect, and I'm so happy that I'm apparently not alone. Lol. Please consider expanding a series like this with deep dives and education; I've learned more through you and your introduction to complex material than I would have gotten in 2 years of amateur film school. This and the ARRI episode have been a couple of my favorites, but let's be honest, you pack amazing content into every episode. Thank you again; your commitment to putting something great out for everyone is clear. YOU. FUCKING, ROCK, MAN. Deuces from Dallas.
Thanks for your kind words ! Looking forward to your visit !
kudos for the table angle with the monitor displaying your guests. never seen this in any youtube video before. small idea thats pushing content quality forward
This is very cool. As a business founder myself, I fully appreciate the guts and work of these guys.
Hey Gene!
Loved this video man. It's awesome to see people geeking out about cameras/lenses. I've been curious about anamorphic lenses for a while and this video really helped me understand everything a lot more! :)
Brilliant, no other words for it. Merry Christmas and stay well 🇬🇧👍
It was great meeting you at Atlas! My students were also stoked to meet you! Please do more of these deep dives
So well shot and edited! Thanks for this. Great hang with Atlas.
Been waiting for this one for yeeeeears, ever since you did that one video with Art and the Arri Master Primes. Thank you
That's what I'm sayin!!!! Both are so brilliant.
Such a rad breakdown of anamorphic. Would love to be able to use one one-day.
Love my Atlas Orion set, best lens investment I made!
I recently took the lens of my Nikonos Underwater camera (50 years old), and modified an adapter ring to mount it on one of my Blackmagic Cameras. It captured an image that I have never seen before. Parralex was completely eliminated. A unique look. I bought an Anamorphic Projector lens from a auction sale of an old Cinema some 40 years ago. It was a prop for all that time. Now I will need to brush up on my trigonometry and mathematics before I even open the box.
I'm shooting with Orions for the first time this week. I am super excited to see how they work.
Learned so much in this video. Thanks to everyone involved.
Very good. It'senjoyable listening to very smart people and seeing their mark within industry and the wealth of knowledge they carry on the subject. Learned quite a bit today. This company seems open and generous with their time and feel it beyond use as some marketing tool.
Great video Gene! Thanks, Dan and Forrest for your contribution to this field :)
this was so good, enojoyed every second of info, these two are amazing.
I understood like 5% of the whole video :D Loved the relaxed and peacful conversation. People who found their passion👍🏼
Thanks for including my unqualified question @ 26:36 😂
I forgot I actually asked that lol
Great video btw! Learned a lot! 🤘😳
What a great and informative video about anamorphic lens - thanks for making it!!
Great video & Great to see Dan!
Music Videos (MTV) came along in the 80's, (spherical) flares were used creatively in general. Initially adopted for commercials and later (Anamorphic) flares were more widely accepted and used on feature films.
Fantastic Video!! Thank you for taking time to create this type of content. Educational, beautiful, and fun to watch.
Fascinating that out from a constraint based solution we got this beautiful immersive look.
Terrific and informative video, very appreciated!!! 🙌🙌🙌
Love your mobile platform/set! Nice work!
What a great video. Atlas is a name I heard of more and more and they seem like such a down to earth good people business. I loooove the anamorphic look and if I ever were to consider buying a single lens what focal length would you recommend? S35 or FF?
Thanks for sharing. May I suggest placing a dark color skirt (maybe with some Camera Gears Graphic) around your cargo cart will make you look more "professional"?
Great Video, great lenses, great Dudes. Love this kind of deep dives. Would love to see more like this (I know it is higher production effort, so maybe lower frequency) instead of the 10000th FPV Drone-Vid.
Great Video...a lot to learn...Anamorphic it is from now on... but too many numbers to remember.
Great video, love the Atlas guys
Watching this video has given me a pretty decent understanding of what anamorphic lenses are. Before that, I had no idea what the point of these were. Very nice. Now I want to get me some prime anamorphic lenses. Very expensive though.
Thank you for putting all this effort in your videos man 😎
This is fascinating stuff - what a great video
surprised to not see the interview be shot with anamorphic lenses!
So fun! Thank you Gene and Kari!
7:49 i always wondered how the de-squeeze works. don't you add pixels that weren't on the sensor if you record on the full sensor and then de-squeeze the image?
There are two ways to desqueeze - you can enlarge horizontally, or compress the resolution vertically. Make sense ?
@@dankanes4383 i know. if you go to the mentioned timestamp, gene says 'you're recording the whole sensor, then your stretch it out 2x'. so use the whole sensor, then enlarge horizontally. wouldn't that add pixels that aren't on the sensor?
There are a third and 4th way to deliver anamorphic as well.
-Compressing / condensing some of the pixels in the vertical axis and stretching some of the pixels in the horizontal axis by either an equal ratio balanced between the two axes, or still disproportionately but less than the total factor of anamorphism in one axis.
Second, desqueezing by multiplying the pixels on the lens’ axis of power, and for delivery condensing the overall pixel dimensions to fit into your delivery container on the axis of power. Example: Red Gemini 3600x3000 pixels for 2.40:1 delivery (6:5 aspect) - 7200x3000 with 2x anamorphic, shrink to a DCI container becomes 4096x1704 pixels with a matte of 228 lines of black pixels above and below your image. Is this a bad thing ? Maybe to some people ? I’ve never been one to promote the idea of anamorphic giving you more resolution - just a more pleasant picture.
One could argue that 2x larger pixels in the horizontal axis just become astigmatic pixels - they’re wideboi pixels. One could also argue that pixel Count on a bayer pattern sensor should actually be considered far less than the number of pixels. Ultimately I find anamorphic lensing the most emotive choice in image creation - but there will always be great reasons to use spherical lenses too - whether for whole projects or just parts of them. My outlook is to try not to let other people define my cinematography goals only by the numbers - but to let the the three spheres of science, technology and artistry interact and influence each other to make the best possible picture.
@@dankanes4383, what a brilliant last answer here. Furthermore, some of my favorite creators of late are mimicking this sort of Trinity theme you just left off here. (Science, Technology, Artistry.) Really brilliant. For example, I am a Sommelier and Wine Educator, and a recent author I have turned people on to is Joe Campanale, who wrote Vino on Italian wine. He replaces a lot of old ideas or frameworks on how to interpret a Masterful wine with what he calls Vino Vero; these three spheres of influence touching each other; in his instance, he mentions 'Native Grapes, Exceptional Terroir, Artisan Winemakers.' On another note, you will see me with my BMPCC 4k/6k and Sony A1 in Glendale sometime soon. I will not pass up that amazing offer.
I like these guys! Total anamorphic freaks.
the mercury line looks super interesting!
15:31 Diopter! Thanks for the explanation on this
Appreahiate the deep dive by all involved. Love the look of the Original Atlas lenses and excited to see them in use on the upcoming "Babylon".
loved those guys
and the lens
Nice! Was hoping for a video about this 😃
Such an awesome episode Gene!🙌✨
This was so dope!! 🙏🏼🙏🏼🔥🔥
Waiting for a video like this!!
what many people never mention is that if you shoot anamorphic on red cameras you can just as well shoot with 16:9 only cameras. the Sensoe itself on red cameras is 17:9 and 16:9 so even the 4:3 mode on the red monstro doe not give you more vertical view it just crops internally the sides off ... so even if you have have a sony without open gate it is just not that bad
I love videos like this!
Can you do a series of videos like this?
Excellent video! Will return to it many times I am sure
How amazing the look that lens makes 😮Omg
Hey thanks so much for doing this: Anamorphic knowledge and insight amazing.
This really greate! Thanx all of you! :)
i learned a couple things in this one
This was the BEST!
I still don’t understand why cinematic bokeh is taller than wider. If the film is squeezed on the horizontal axis when shot (so the raw film would have round bokeh?), why is the final aspect ratio, when it’s stretched out on the horizontal narrower??? Logic says the bokeh oval should be wider on the horizontal, not the vertical. What step am I missing?
Actually a great and reasonable question. When the in focus light rays hit the film strip or digital sensor, they are distorted by the anamorphic group to the compression coefficient of the anamorphic lens design (I.e. 2x for an Atlas Orion) the out of focus rays, because they are distorted to a higher Degree because of where they go through the lens’ entrance pupil. So for example - before desqueeze process those out of focus rays that make a bokeh spot could be like 4x skinnier than the actual point - it has to do with the disproportionate magnification of the anamorphic lens’ pupil. Kinda hard to explain, but this is in effect why bokeh is bokeh, the spot of light rays is magnified in a different manner because they are not being focused down to a point by the lens (when out of focus). Hope that’s helpful and not overly complex (it’s a very complex topic when getting down to the level of true science here)
@@dankanes4383
Thank you for your reply. I think I see my error. The raw animorphic film has a very squished horizontal image. And due to the way animorphic lenses capture light, bokeh/out of focus light is even more horizontally compressed. It’s so narrow horizontally, that when the film is stretched in post, the out of focus bokeh does not get stretched to “normal” like the in focused elements do. So while in focus elements now look correct, the out of focus/bokeh, never gets fully stretched on the horizontal, it doesn’t make it back to round. Thus the tall bokeh shapes. Is this right… or closer?
Here’s a video with a lot of helpful info on the characteristics of animorphic and spherical lenses: ruclips.net/video/iiiwihwJH5Y/видео.html
You pretty much get it there.
This was amazing. Thank you.
Hahahaha hey that's my old Bausch & Lomb Cinemascope Adapter you guys are playing with (I think)!
I sold it to Dan a while back...2 of them actually. Rare pieces of moviemaking history.
Interesting to see what looks like an Iscomorphot-35 2x 50mm lens there on the table. Super rare.
Great vid.
Good eye James. Thanks for the hookup - I’ll take more of these Cinemascope adapters if you find them haha. And yes! It is an Iscomorphot 35 Cine 50mm ! Pretty nice lens. Large image circle. One of the jewels of the museum. Come by and visit if you’re ever passing through LA!
super cool.
Wow beautiful thanks for doing this what awesome info I luv anamorphic look everything shot on it just looks lush. I like sharp but not clean and sharp as life is not clean and sharp I think anamorphic does that mimics how we the human eye sees the world. But it’s not easy to achieve the look.
I need a suggestion. What do you think is better: shooting in black and white or shoot in color and then convert to black and white in post production?
If you have a good colorist, they can manipulate the color channels to change the weight of contrast in your black and white image if you shoot in color.
@@fr33dom_s4int thanks
Awesome. Atlas seem like really cool guys. 👍
Gene , you are a beast. The angle with the 2 of them is beautiful. its simple but im drawn in. Great interview also!! $6,000 for a 1 lens...yikes! what focal length would you use to film an entire project, if you only had one lens?
42mm apparently..
Well, when you consider a Cooke anamorphic is about $30K… 🤌🏼
Excellent video.
I live in Europe in germany how can I get my hands on a set of theses silver Orion anamorphic lense
Can you try the Moment anamorphic adapter? Not many videos about it yet
Anamorphic looks great, but can be a PITA for VFX work unless shot properly (good distortion grids, breathing)
@Officialpotatojet... Hello scam artist
Great lenses, I am getting nanomorph for sure
One day i will obtain these precious lenses and film my cats with them :3
Potato Jet, You should stay in the Potato Hotel out in Idaho and do a vlog about it.
11:14 the look during this segment is dreeeeaaaaamy!
Awesome!!!
to the point! loved this video! thnaks
do you download all the movies you use as a BROLL, or do you find clips online and so it is so much easier to do?
Well I wasn’t planning on spending $20,000 on camera equipment…but here I am.
I mean, you could always try the new Sirui anamorphic for $1500. Probably wasn’t used to film Babylon, but early reviews are good.
Can I use the anamorphic lens on Canon 90D?
Well I have something called Optical Flares in AE by Andrew Kramer and it has all of these flares puls some really wild ones which you cannot achieve by any lens in the world :'D
I need E mount. I didn’t see any info or choice on the mount?
Hi ! We make the lenses with PL mount, but since you’re on E mount the best option is a high quality E mount to PL adapter with a support to your camera body via a cage for example. One of my favorite E mount adapters is from a company called C7adapters.
@@dankanes4383 thank you for your reply.
Atlas please make an affordable anamorphic adapter like the Moment or Great Joy! your flares are so beautiful!
Thank you for very interesting video!
Amazing kind of people!
dude on the left hardly talked and wasnt having it at 12:15 lol
What lenses would you recommend for wedding films ?
16-35mm, 50mm or 85mm prime, 100mm macro, and a 70-200mm
Anamorphic is fucking amazing
good one!
Super interesting.
Cool stuff and so much knowledge even though everything doesnt apply to me and is over my head lol
why so much noise in the main shot?
bro Are you looking for short form video editor? , can i join your team as short form video editor - remote base
Seeing vlog style jump cuts on an anamorphic lens is really jarring 😂
Really wish the BMD Pockets shot open gate