Even with close-ups, the distortion will be minimal. This wider ratio became known as CinemaScope. It has a very shallow depth of field in the centre of the shot. The compression means you can capture much wider shots from the same spot - ensuring you don't miss Travolta and Thurman bust out their dance moves. Be aware, however, that most sensors today, will have a wider aspect ratio than 35mm, so if you choose to opt for 2x anamorphic lenses this will produce a super wide ratio.
Anamorphic lens footage is also recognised for its cinematic black bars. This is what happens when you attempt to squeeze a wide aspect ratio onto a screen that has a narrower one. This is because the screen has to fill the shot side to side. The thing is the anamorphic lens has a pretty unique type of flare. Aside from horizontal lens flares, you'll get an oval bokeh. Bokeh is the way the lens captures out-of-focus lights in the background.
Just to compare, a traditional lens would produce a ball-like bokeh rather than oval. When it comes to deciding whether to use an anamorphic lens, it is very much down to you and your personal taste and preferences. As Roger Deakins once said: 'It's not about the type or brand of your lens, it is about what it does for your story'.
Clever words, Sir Deakins! Choosing the anamorphic lens also means choosing to get a wide aspect ratio, an incredible depth of field and a distinct, oval-shaped bokeh. And if you think your next creation needs a sense of warmth and closeness to it, then the anamorphic lens might be the ideal choice.
An anamorphic lens is a unique lens. My advice — just try it out. I can tell you about how awesome it is till I'm blue in the face. Ultimately, it all depends on your preferences and the kind of mood you want to convey. I will leave you with this, though: the anamorphic lens looks fantastic on screen and gives a nostalgic look.
Experimenting with it might even make you a better filmmaker. It introduces different framing and allows greater detail in each image. When in production you will typically have to choose between two classes of lenses, the anamorphic or the spherical.
Spherical lenses have less glass for light to pass through and simpler mechanics. They tend to produce sharper images with minimal distortion across the entire picture.
The anamorphic lens is often identified by its reduced sharpness, increased distortion, and falloff —the closer we get to the edges of the image, the more distortion and softness we get. It also produces far more dramatic lens flares; this is because of the extra glass inside the body.
Fair warning, I'm going to have to use some jargon in the following explanation — continue at your own risk. To convert these into widescreen non-anamorphic square pixel formats, you need to stretch them horizontally. Anamorphic widescreen was a response to a shortcoming in the flat, spherical widescreen format.
With a non-anamorphic lens, the picture is recorded such that its entire width fits within the film's frame, but not its full height. I've spent some time now on describing the wonders of the anamorphic lens. However, this wouldn't be a useful guide if I didn't outline some of its pitfalls. Anamorphic lenses are more expensive; this is due to their rather complex construction. Also, with anamorphic lenses, you're likely to have fewer options to choose from, most are built in 40, 50, 75 and mm focal length.
In contrast, spherical lenses have more focal lengths to choose between. Spherical lenses tend to be faster, resulting in a lower t-stop such as T1. Anamorphic lenses usually have a stop between T2. As a filmmaker, it's nice to know all that technical stuff, but what you need to know is how the final product looks. Anamorphic footage has a softer, more cinematographic and artsy feel. The bokeh and lights are cubic or oval. Anamorphic flares are stretched horizontally and will give your footage that aesthetic look.
With the anamorphic lens, you capture a wider frame, so keep in mind that it can make a set more expensive. It's difficult picking the right lens to match your style, especially with the endlessly available cameras and lens combinations. The full-size range is a great option for the budget-conscious filmmaker.
These are the large format lenses. Early models of these are approximately 1. If you want an alternative, take a look at the replicas. Are you looking for a lighter rig? Perhaps, you're recreating the chase scene from Casino Royale? These lenses combine the build quality of large format lenses with the sharpness of smaller packages.
Small format lenses like Baby Hypogonar and Baby Isco provide an anamorphic effect in the smallest possible package. This is because the lenses produce an image that's compressed in width and requires it to be stretched in post to be properly displayed. The de-squeeze factor tells you how much the image is compressed. Some high-end cinema camera manufacturers such as Red feature in-camera anamorphic settings, allowing you to see a de-squeezed image on screen as you shoot.
Unfortunately, because of their complex internals, anamorphic lenses can be prohibitively expensive. There are even anamorphic adapter lenses to use on the best camera phones , giving you an ultra-wide anamorphic look at a fraction of the price of cinema lenses.
With a wide range of free video editing software also available, achieving that Hollywood-style cinematic look is cheaper than ever before. Some of the more affordable anamorphic lens options can struggle to achieve the same crispness as more expensive pieces of glass. However, even with this lens wide open, it produces images just as sharp as lenses ten times its price. This allows you to shoot high-definition video in a classic CinemaScope aspect ratio of 2.
It features astounding sharpness for its price. Its construction is compact yet solid, belying the fact that it is a fraction of the price of most anamorphic cinema lenses, yet it is capably of producing images that are equally breathtaking. The only real downside is that the lens is not available for full-frame. The use of an anamorphic adapter can be an ideal solution if you have a camera setup with multiple lenses and you want the anamorphic effect across them all.
However, setup can be extremely fiddly. Firstly you need to make sure the lenses you already have are compatible — with a native 62mm rear thread the SLR Magic Anamorphot 2x adapter is only suitable for lenses which have a front element size of 50mm or less.
Limitations in close focusing mean you will probably want to use dioptres such as the SLR Magic Rangefinder if you want to focus closer than 2m or so. And because the adapter will probably weigh as much as your lens, you will need some kind of lens support.
Still, if you can get the setup right, the SLR Magic Anamorphot 2x adapter supports focal lengths between 35 and mm for APS-C and MFT format sensors but only 70 to mm for full-frame format sensors so it could provide an anamorphic look to most if not all of the lenses you use for filming. Moment's lenses for iPhones and smartphones work by fitting into one of Moment's own highly-respected phone cases , that have a mount built in for fixing these accessory lenses to one or more of your handset's rear lenses.
Once you have the case on your phone which you leave on all the time for protection adding the lens is a simple bayonet twist-lock affair. The Blue Flare Anamorphic lens gives a 1. You do have to pay more for the case, of course, and only some manufacturers models are catered for see Moment's store for details. There is also a Moment Gold Flare Anamorphic available, if you want a warmer, less blue, look.
Mobile filmmakers seeking that anamorphic aesthetic should not feel left out, as there are a number of adapters available for most camera phones. Our pick of the bunch has to be the Moondog Labs anamorphic lens.
The company's 1. Despite the price the Moondog Labs lens adapter is made from anodized aluminum and cinema-grade glass and is available in three different mounts bayonet, 37mm thread or clip-on for increased compatibility with the majority of camera phones. Of course the image quality won't quite be up there with the best on this list, but with some of the best camera phones it really won't be far off, allowing you to produce expansive 2. It's an APS-C lens. Check out this video to get an idea of what this lens can do.
You Might Also Like. Leave this field blank. Reply Share Share this answer:. GonzagueGB Vincent Gortho none. Fingers crossed. Michiel van Zummeren Editor, second camera unit. I like it. Joseph Arant Writer. I prefer the Vazen 40mm T2 1. I, for one, am grateful for your insight.
Olaf Malachowski Literally logged in purely to upvote the snark in this comment. Nicholas Monteleone
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