30 Jan. 2008|
Build anamorphic lens,woodworking guide and tips,curved pergola ideas - How to DIY
Panamorph is a company that makes a range of anamorphic lenses, and I tested its new low-cost offering, the CineVista. A new project is raising money on Kickstarter to build an anamorphic adapter lens that would be compatible with the iPhone 5 and iPhone 5s, letting users record video reminiscent of a J.J. Shooting in anamorphic format is a cinematography technique that allows directors to squeeze widescreen video on 35mm film or other media that doesn’t have a widescreen aspect ratio and then restore the video to its actual size when projecting it. NEW (sort of new) Below is a tutorial link or an instructional presentation I built for demo purposes over a year ago. Cinemascope is the name of the anamorphic process that 20th Century Fox used to create the widely distributed widescreen movies in the 1950s.
Then upon projection an anamorphic lens is used to expand the image by 2x, so as to render the extra wide natural looking image. When using a anamorphic lens adapter you change the overall focal length of the lens system as a whole of the horizontal plane by increasing the field of view by 2X. Modern anamorphic camera lenses have special design features that overcome the old focus problems. The focal ring on the anamorphic projector lenses really has little to do with focus at all. Vingetting is a problem with the wide angle ability oft zoom lenses on most digital video cameras and the long barrel of standard anamorphic projector lenses. The lens used here is a Bausch and Lomb Cinemascope Projector Attachment I simply affixed infront of a Panasonic PV-DV51 mini_DV camera.
Other anamorphic lenses can be acquired that have standard threads, from companies like Bell and Howell, Sankor, and others. A simple DIY lens rail system will facilitate mounting the anamorphic adapter to a camera.
Stretching an anamorphic image on a nonlinear digital editing system is fun and it does yield the wide screen, though it is not as impressive as projecting an anamorphic image from the actual film.
Vertical anamorphic is simply using an anamorphic lens in the 90° (90 degrees) to the normal horizontal anamorphic magnification direction. The anamorphic system was designed to be a more expansive, grander image projection system. However, they do not have the sophisticated design of modern Panavision anamorphic lenses which yield a shaper image with less anamorphic distortion and focus issues typical of the old Cinemascope process. That is if you place a 2X anamorphic adapter in front of a 50 mm prime lens the whole lens system has a horizontal focal length of 25 mm. When buying lenses from ebay make sure you see a clear picture of the glass otherwise don't buy!!!
These lenses may also be much smaller unlike the lens I use which is seven inches (7")long and about eight pounds (8lb). After you have edited the film you shot with your camera, using the anamorphic lens, and your film is ready for projection, simply mount the anamorphic lens in front of the projector. If you have a Sony, Epson, or JVC projector, you can get the lens with a custom mount for $1,995.
But with the CineVista lens in place, the image went back to being smooth at that distance. If your projector is more of a mixed-use display, using one of Panamorph’s higher-end motorized or sliding-mount lenses (or simply zooming out) may be the better option. Plus if you make a mistake it comes right off with a little alcohol, but not with water based lens cleaners. This can be done using an anamorphic lens in front of a video projector or using editing software if the image is to be shown on a TV or a computer screen. The photo far above and the video immeadiately above are from some test footage shot with a Panasonic PV-DV51D mini-DV camera and a Bousch and Lomb Cinemascope attachement I 35mm theater projection lens (used as the anamorphic adaptor. The anamorphic system suffers from having different amounts of anamorphic magnification at different distances in front of the lens, more magnification, closer in, and less, further out.
They are anamorphic lenses with a compression ratio of 1:2 which means they squeeze the image along one axis in half.
Some of these lenses are designed especially for cameras but I have found that projections lenses work just as well for cameras.
From a detail perspective, it was hard to compare the zoomed-out image versus the anamorphic one (it takes too much time to switch back and forth), but anamorphic did look slightly more detailed. So, if the lens is upright then everything viewed through it is twice as tall as it would be normally, or if the lens is rotated 90 degrees, from it's upright position, everything viewed through the lens is twice as wide as it would be normally. If the iris is sufficiently open and the depth of field for the two focal distances are each so narrow that they do not overlap there will be no way to focus the anamorphic system.
This ring should be adjust in tandem with focus to give proper anamorphic magnification at all focal lengths.
I went to several machinist to have a reducer built for my mini-DV cam but the cast was over $200 and there was no ability to adjust the tilt, yaw, and rotation of the lens which is crucial for the proper image from the lens. Upon projection, an anamorphic lens with a compression of 1:2 was placed in front of the projector which would stretch out the image from the film to be twice as wide as it is on the film. Using anamorphic lenses to achieve the wide screen look you are using all of your camera's CCDs thereby achieving higher resolution in you finished product.
Placing and anamorphic lens in front of the camera squeezes the image so that in post production the image must be stretched out. Some trouble can come from the interlaced fields of DV, the lens compression can make the image wavy or lined but this has always cleared up for me by either fine tuning the rendering compression.