- #Anamorphic desqueeze davinci resolve studio pro#
- #Anamorphic desqueeze davinci resolve studio series#
This yielded an extremely wide 3.55:1 aspect ratio. However, in the case of the EVA1, there was no such mode.
#Anamorphic desqueeze davinci resolve studio pro#
This common squeeze factor (2x) is intended for 4:3 capture, which is the most commonly used recording aspect ratio for most anamorphic projects - which is intended to then be stretched out to the classic anamorphic cinemascope aspect ratio (2.35:1 or 2.39:1).Ī lot of professional digital filmmaking cameras like the Alexa or even the Ursa Mini Pro include a 4:3 anamorphic shooting mode. So in the case of the Atlas Orion lenses, the image is squeezed 2x horizontally. This refers to the amount of squeezing that your image gets. There are different amounts of squeeze however, the standard in the professional anamorphic lens range is 2x anamorphic. One thing you need to pay attention to when shooting anamorphic is the squeeze factor of your particular lens. This is a look that has been associated with big-budget Hollywood films for decades. However, probably the most widely noticed and sought-after effect of anamorphic lenses is their distinct lens flare characteristics. You get oval-shaped bokeh, which has a really interesting and beautiful look that you can’t get with spherical (non-anamorphic) lenses (unless you use a filter like the cinemorph). This gives you much more interesting framing options and a much wider (and sometimes immersive) scope for your scene.
For one, you get a much wider field of view. This has quite a few interesting and beautiful effects on your image. So, a big thanks to F22 Studios for the help and to ShareGrid for putting it all together for us.Īnamorphic lenses, put simply, are lenses that optically squeeze the image horizontally onto your recording medium - in order to be de-squeezed later on in post-production. Luckily, our friends at ShareGrid were generous enough to hook us up with F22 Studios, a rental house in Hollywood who allowed us to borrow their Panasonic EVA1. To use these lenses, we needed a camera with a PL mount - which we didn’t have.
#Anamorphic desqueeze davinci resolve studio series#
I’ve been obsessed with the Atlas Orion series lenses since they were announced, and Atlas Lens Co was kind enough to send me a set to try out for myself. It’s all about what helps you tell your story. In this day and age of super-sharp, high-resolution cameras, I’m a big fan of softening that image or making it more visually intriguing rather than simply leaving it sharp and detailed. They are a part of film history, often from the ’50s-’80s, and we’re still using these same lenses today.
You really want to get the flares, the bokeh, the slight chromatic aberrations, and some of the other anamorphic characteristics that differ from lens to lens.Ī lot of anamorphic lenses are vintage. To me, it’s not enough to just get that wider field of view. There are many reasons why anamorphic is such a sought-after look, but in my opinion, all of the best reasons relate to the character of the lenses. Everyone who has ever called themselves a cinematographer wishes they could (or has) shot with anamorphic lenses. It’s an entirely different approach to framing, lighting, or even blocking your scenes. Shooting anamorphic is kind of a rite of passage, it seems, for most aspiring cinematographers. and others, they’re becoming more accessible. Anamorphic lenses yield arguably the most inherently cinematic images.
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