» Posts Tagged ‘anamorphic’
Will the Magic Lantern Canon DSLR RAW Video Hack Kill Your Camera's Sensor? Short Answer: No
Long Answer: Nope. There seems to be a lot of misunderstanding about what is actually happening with the new Magic Lantern hack in development that enables RAW Video output on Canon DSLRs. While it seems like some sort of magic on the surface (and it basically is), the reason this is possible is because of the RAW data stream that the camera is already outputting during normal operation. Read on for a clear explanation as well as some words from the Magic Lantern team on how this affects your camera. More »
BMCC vs. Canon 5D Mark III: Did Blackmagic Just Get a Full-Frame RAW Video Competitor?
Even though Blackmagic announced two more cameras at NAB, the original 2.5K BMCC is still shipping in limited quantities. While the company has been working hard to address the situation, an unlikely competitor has come along thanks to Magic Lantern: Canon’s year-old 5D Mark III. It is now the only DSLR to shoot RAW stills and video, and even though the hack is still in the early stages, it’s becoming clear that it will be a force to be reckoned with at this budget level. The guys over at cinema5D have been working with the hack, and they’ve now posted the first test comparing RAW video from the Blackmagic Cinema Camera and the Canon 5D Mark III. The results are interesting, to say the least. More »
These RAW Video Clips Will Make You Want a Canon 5D Mark III (Unless You Already Own One)
The Canon 5D Mark III has become a true cinema camera. That’s a bold statement, but some of the footage that is currently being shot with the new 14-bit RAW Magic Lantern hack is absolutely night and day when compared to 8-bit H.264 footage recorded in-camera, and there is no doubt it rivals much more expensive cameras just in sheer image quality. We’ve got some impressive samples from cinema5D, Luke Neumann, as well as a few others below. Click through for the head-exploding videos. More »
1080P RAW Video Now Possible on Canon 5D Mark III & Real Anamorphic Shooting with the New Hack
Not only do we have news that RAW video at 24fps is possible on the Canon 5D Mark III, but we now know it’s possible to get a full 1920 x 1080 image with 1000x speed cards. The first samples were possible by cropping the image to 1920 x 820, but g3gg0 from Magic Lantern has unlocked a way to get the entire image — the full 1920 x 1080. This makes the Mark III the first full-frame (36mm x 24mm) camera to shoot RAW video at 1080p. Also, now that we’re capable of getting really high-quality custom resolutions, a whole new world has potentially opened up for anamorphic shooting with the camera. More »
'Red Bull Perspective - A Skateboard Film,' Shot in Gorgeous Anamorphic on RED EPIC & Phantom Flex
Skateboard videos became more popular as digital cameras got smaller and cheaper, and it was practically free to go shoot your friends for a few hours or tape over anything you didn’t like. High-end skate videos are in their own world entirely, and you don’t have to be a fan of skateboarding to appreciate the beauty and talent exhibited by the skaters and the filmmakers. In Red Bull Perspective — A Skateboard Video, DP Marc Ritzema shows off some gorgeous anamorphic photography with the RED EPIC and time-stopping slow motion with the Phantom Flex, and Director Nicholas Schrunk crafts a story that takes you into the lives of some of today’s premiere skaters. Check out the film below. More »
Anamorphic shooting at the low budget level is difficult, and with the options out there for filmmakers, getting a proper aspect ratio and a sharp image is next to impossible without a lot of effort or a lot of patience. When Zeek Earl of Shep Films shared some test footage, I took notice, because it was some of the cleanest and sharpest anamorphic footage I’ve seen come out of a DSLR. After exploring a bit further, I discovered their short film In The Pines, and also found out that the test footage posted was for a Kickstarter project that will end in less than 24 hours. Click through to check all of it out. More »
The anamorphic look has been around for a long time, but its popularity at the budget level has increased in the last few years thanks, in part, to the availability of inexpensive interchangeable lens digital cameras. If you’ve been interested in how people are getting the look and what they are using, Ryan Connolly over at Film Riot has put together a video giving an overview about your options out there and some of the advantages and disadvantages for some of the options. Click through to watch that video below: More »
SLR Magic Developing Budget Anamorphic Lenses and Canceling Development on Others
Not too long ago SLR Magic (maker of the 12mm T/1.6 and 50mm T/0.95 lenses) confirmed that they were in the early stages of developing anamorphic lenses designed for Micro 4/3 mounts — like the Panasonic GH3 and the Blackmagic Cinema Camera MFT. This is certainly very exciting for any lower-budget or DSLR-level shooters who have so far been deprived of any low-cost anamorphic shooting options (or at least those that don’t require serious workarounds). They’ve also said they will not be developing select new lenses the Leica mount that premiered at Photokina. More »
While there have been some rather large announcements at IBC, one of the companies that never fails to impress with something new and shiny is Carl Zeiss Lenses. They just recently announced new CP.2 lenses as well as a new CP.Z zoom lens. This year they’ve introduced a brand new DSLR lens, a 135mm f/2.0 Apo Sonnar T* at the show. They’re also showing off what was simply a prototype at this year’s NAB, and that’s brand new anamorphic lenses. Since those will be even more expensive than even their $20K Master Primes, they will definitely be a rental option for many productions. More »
Zeiss’s popular Compact Primes are getting some brothers and sisters. To their current full frame, interchangeable lens mount lineup, Zeiss is planning on adding new Compact Prime CP.2s of wider than 18 mm and longer (or equal to) 100 mm, a compact tele zoom lens (70-200 mm, possibly), and a complete set of Anamorphic prime lenses — with a 2X squeeze, which at first I found a bit odd. More »
Not everyone can afford to rent Panavision anamorphic lenses — in fact, only the largest Hollywood films can — so what happens if you want to shoot in a wider aspect ratio than the HD standard of 1.78:1 (aka 16:9)? Like, say 2.35:1, also known as CinemaScope? You can always mark some frame lines on your viewfinder and crop the image in post, or, if you want to get creative, you can delve into the world of anamorphic adapters. Andrew Reid at EOSHD has been covering anamorphics for quite some time, and he’s just published a guide about adapters, lenses, diopters, Final Cut Pro post-production, and other issues for using anamorphic lenses with DSLRs. More »
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Noah: Wow that's great! Just from watching though, I like the BMCC a little bett… BMCC vs. Canon 5D Mark III: Did Blackmagic Just Get a Full-Frame RAW Video…
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