If the finishing resolution is close to the capture resolution, this means that horizontal detail will be less resolved than vertical detail. Since the final image has to maintain a standard aspect ratio, pixels from the anamorphic image are interpolated to produce an equivalent spherical image. Selecting Anamorphic Viewing Within REDCINE-X For easier on-set visualization, a de-squeeze feature is enabled by default in the viewfinder and LCD preview screens when an anamorphic resolution is selected: The signature anamorphic style has been a key motivation behind RED's incorporation of various in-camera and post-production anamorphic tools. With film, the end result was typically still sharper though, primarily because these images had to be magnified less during projection. Rear-mounted anamorphic lenses often also reduce the maximum available aperture, and are much less common with wide angle lenses since they increase the effective focal length.Īnamorphic lenses typically aren't as sharp as equivalent spherical lenses, in part because these have additional glass elements in the optical path, but also because images are often produced using an ultra-wide angle of view. Bokeh, flare and vignetting will appear similar to spherical lenses, but depth of field will still become shallower. "Rear-mounted" anamorphic lenses are usually much less identifiable, and are therefore typically used with film when utilizing more film area is a primary goal. Most of the characteristic look of anamorphic lenses is associated with the "front-mounted" type, where the aspect ratio compression is done by a front lens element. However, the type of anamorphic lens can also be an important factor. Since spherical lenses are more common, the available combinations of focal length, T-stop, quality and cost are also more diverse. The added complexity and larger glass elements almost always mean that anamorphic lenses will be more expensive and heavier than standard spherical lenses. This makes the lens larger, reduces light transmission and can introduce additional distortion. Many anamorphic lenses are just ordinary spherical lenses with additional glass elements that compress or "anamorphize" the output. The unique design of anamorphic lenses also has implications. Vignetting may appear as an oval, although this unique shape can be emulated in post-production. Flare may also appear as bluish horizontal or vertical streaks which span the entire frame. Lens flare and out of focus backgrounds ("bokeh") will appear elongated as opposed to circular (unless the lens has a specially-designed ovular iris). The main reason to use anamorphic with digital is for its other effects. One could potentially utilize a less common 1.3X anamorphic lens and preserve 95% of the pixels, but the effect would likely be too subtle to justify any added cost or complexity. The other route would be to use a 2X anamorphic lens, in which case the sides of the frame would need to be cropped, and only 61% of the pixels would be preserved. To produce 2.40:1 wide format imagery, one could crop the top and bottom of the frame using the "6K WS" setting, in which case 81% of the pixels would be preserved. However, unless the required aspect ratio is unusually large, cropping the image vertically will often preserve more pixels.įor example, the Full Format RED DRAGON resolution is 6144x3160, which has an aspect ratio of 1.94:1. In addition, the ultra-bright luminous font allows for convenient use in dark environments.Note: Above examples depict the RED DRAGON ® digital sensor with 2.39:1 widescreen images.Īnamorphic lenses therefore only improve image quality when a higher aspect ratio is needed than captured by the digital sensor. Also, the front barrel design made of Carbon fiber material not only adds to the rigidity of the lens but also adds a sense of luxury. The XEEN Anamorphic 50mm T2.3 features a Ø114mm, non-rotating front diameter, which is ideal for use with a 4x5 Matte Box. After being de-squeezed, the XEEN Anamorphic 50mm T2.3 lens covers 2,55:1 original cinematic cope ratio in 35mm full-frame sensor. This ensures a pleasing bokeh that filmmakers will enjoy manipulating creatively. The newly developed iris with 15 aperture blades, creates perfectly oval and evenly illuminated out-of-focus highlights. The important and distinguishing visual facet of anamorphic images is the appearance of out-of-focus background elements or bokeh. This new XEEN Anamorphic lens covers full-frame and larger sensors, is available in an interchangeable PL-mount. The XEEN Anamorphic 50mm T2.3 opens up endless new creative opportunities, making possible shots that would have previously been considered impossible. XEEN Anamorphic 50mm T2.3 2x for high-end digital cinematography
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