GH1 with PL mount (and anamorphics)

I just don't see anamorphic being used with the 5D2, GH1, D90 at all... these VDSLRs are aimed at Web Video. The quality has a ways to go before they can be projected!

However, the discussion of PL mount options is a necessary and important one to have in general!
 
Joseph Stunzi said:
I just don't see anamorphic being used with the 5D2, GH1, D90 at all... these VDSLRs are aimed at Web Video. The quality has a ways to go before they can be projected!

However, the discussion of PL mount options is a necessary and important one to have in general!
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hehe, the DVX got projected. With good camera work, lighting, lenses, some softening, grain and cc I think it should hold up well. It's not 35mm but I'll settle for super16 until the GH2 comes out.
 
Joseph Stunzi said:
I just don't see anamorphic being used with the 5D2, GH1, D90 at all... these VDSLRs are aimed at Web Video. The quality has a ways to go before they can be projected!
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You also thought that people wanted them because they were cheap... not because of the Discreet interchangeable glass format.

Just pokin' some fun at ya. =D

But you're crazy if you think that the quality isn't enough to project as it stands. Either that or you don't pay attention or shoot enough.

Sorry man.
 
Is there any way to get a PL mount anamorphic lens, something in the 2.0-2.5:1 aspect ratio for $1,500 or less? Putting the whole package at $3k plus adapter cost.

Renting isn't a practical option for me. I'm figuring I'll crop 16:9 to 2:1 otherwise.
 
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After RED was announced, the cost effective Lomo glass on eBay started getting snapped up, and prices quickly jumped. I don't look so often now. Here are some anamorphic lenses for sale, per on-line search. I have not had any dealings with this seller.

I acquired my Lomo 35mm lens sets in PL & OCT-19 over a year ago, and I was often competing with RED buyers on eBay. It may just be something you have to keep an eye on, checking eBay regularly, and if you do win a bid, you may have a quirky and somewhat unsafe method of paying and praying they ship from OS. I found it frustrating with one seller, but he had good lenses, and then another seller had poor quality and misrepresented the product on more than one occasion. Happy with my sets now, but glad I don't have to do that again, and anamorphic would be harder to find, imo.
 
Kholi said:
You also thought that people wanted them because they were cheap... not because of the Discreet interchangeable glass format.

Just pokin' some fun at ya. =D

But you're crazy if you think that the quality isn't enough to project as it stands. Either that or you don't pay attention or shoot enough.

Sorry man.
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You seriously think that the GH1 could be projected in a theatre? Really? I don't think AVCHD or H.264 can hold up enough to be properly projected. AVCHD breaks with fast movement from what I've seen. True the GH1 doesn't show as many artifacts in generic use... but still... I don't think these VDSLRs are ready for the theatre.

I don't think shooting more would help me to see that either.

Plus... you're biased as we both know! :)
 
LizaWitz said:
Is there any way to get a PL mount anamorphic lens, something in the 2.0-2.5:1 aspect ratio for $1,500 or less? Putting the whole package at $3k plus adapter cost.

Renting isn't a practical option for me. I'm figuring I'll crop 16:9 to 2:1 otherwise.
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Good luck finding a PL lens in that price range. If I were you... I'd get the Contax mount and buy Contax lenses from Zeiss. They're antique... but they pull focus in the proper direction that most ACs are used to... and they're significantly cheaper than Zeiss ZFs with equal quality.
 
If one shoots thier footage to where it does not break....then what would be the excuse to not be projected? heck...even nasty looking footage could be projected....go watch the "Blair With project." lol

It's funny though...I've heard these same comments about HDV for many years. But recent box office movies like Crank 2 and another horror flick last year seemed to suggest that those detractors were wrong.
 
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Joseph Stunzi said:
You seriously think that the GH1 could be projected in a theatre? Really? I don't think AVCHD or H.264 can hold up enough to be properly projected. AVCHD breaks with fast movement from what I've seen. True the GH1 doesn't show as many artifacts in generic use... but still... I don't think these VDSLRs are ready for the theatre.

I don't think shooting more would help me to see that either.

Plus... you're biased as we both know! :)
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lol

Of course it can be projected properly.

There's no reason why it couldn't. The only brick wall is the human that thinks that it can't.

It's funny because people said the SAME thing about DVX footage. We all know how THAT turned out. If your feature is even WORTH transferring to film, trust me, it will project and it will project well.

The idea that "this won't project, bah!" is totally irrelevant to the process because it's highly unlikely that you'll get beyond a Blu Ray release ANYWAY. And I assure you this camera is certainly PLENTY enough for that. Using Anamorphic lenses on a feature will add a LOT of aesthetic value if they're used in a way that doesn't call too much attention.

And it'll look incredible on a Blu Ray disc, a more likely scenario than Big Screen.
 
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I don't know about GH1 but should I remind you h264 is standard for blu-ray ? Have you seen blu-ray movie on wide-screen ? Looks absolutely like in a theatre (if not better, cause some theatre don't focus accurately on the screen..).

As for the codec break, remember you can't pause the movie in a theatre, so if handled properly I'm pretty sure no one will stand up and shout "WOW that was an ugly codec break !" (unless your narration is absolutely boring ?).
 
Hunter, can you tell us what options we have for anamorphic adapters? I am new to this idea and I am fairly lost Googling it. Can you get one for say a Nikon lens or something? Thanks!
 
The fact is that in the not too distant future there won't be any film to transfer to. Everything projected will be done digitallyand most likekely from a server somewhere to a whole bunch of screens all over the world. Whoever doesn't understand that reality is living in another dimension. Material from DSLRs will be projected on big screens, there is absolutely no doubt about that. The potential is huge and many people will see it and exploit it accordingly. Whoever says it can't be done will stay way behind. Wait and witness.
 
Anamorphic lenses are tricky because they have usually a pair of focusing elements, so if you buy an an anamorphic adapter, it will most likely not be able to focus without first setting focus on your taking lens and then focusing on your anamorphic lens. (this happens at the same time in the Lomo lenses I have for instance)

From what I have heard of people using non-focusing anamorphic adapters (like the panasonic 1.33x)- you probably wont be able to get focus on most cameras and lenses, especially on longer lenses. There are a few focusing anamorphic adapters made for 16mm and 8mm projectors that may work, but I think you will still need to focus both your taking lens and the adapter. Its really the best thing just to use a set of anamorphics designed for cinematography- but they are not cheap to buy ($10-15k at the very least)- renting would be a good option.

There is though a rare sought after set of ISCORAMA 1.5x anamorphic lenses in NIKON mount, they will work just like cinema lenses but they are very hard to find and are over priced when you do find them.
 
divide said:
As for the codec break, remember you can't pause the movie in a theatre, so if handled properly I'm pretty sure no one will stand up and shout "WOW that was an ugly codec break !" (unless your narration is absolutely boring ?).
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..>Exactly!!!< The ony ones that would know are the folks behind the scenes. But when watching the movie...most people would enjoy the whole package. Think "28 Days Later." I enjoyed the movie like anyone else. I never noticed that it was too soft (or whatever else was found about it). I only found that out several years later in forums like these. But as an audience member watching the movie....that was the furthest thing from my mind. The Gh-1...the HV20...The HVX200....all of these cam exceeds the resolution of the cam used in that film. As far as the breaking in the GH-1...I've seen anomolies like that in film sometimes. Just go to Apple.com and watch a bunch of trailers...you'll see what I'm talking about. The goal here...for this cam....is to minimize it now that we know this is its weakness in 24p. The more footage I see from Kholi, SonicStates, Phil and Hunter...the more I'm willing to work around these shortcomings. I love my HV20...it can make some very beutiful pictures...but it's wither going back on the market or will be having a companion in a few....
 
I dont think theres any question these camera images can be theatre projected.


Today.


But I believe the new standard for theatrical projection is 4K.


Yep, Hollywood staying one step ahead of Indies. { and home hd }
 
sunburst said:
I dont think theres any question these camera images can be theatre projected.


Today.


But I believe the new standard for theatrical projection is 4K.


Yep, Hollywood staying one step ahead of Indies. { and home hd }
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Film is higher definition then 4K if I remember correctly. Plus, REDRay will have all of us enjoying those 4K films at home! I wouldn't consider RED Hollywood... I'd consider them their own entity.... with their own route to action! But that's just me.
 
REDRay will have all of us enjoying those 4K films at home!

wow. things are moving fast. I didnt even know about that.


but of course HOME HD STANDARD is barely 1080p. { half the sets are still
720 }

And we should ALL HOPE it stays that way. Lets hope 1080p for the home stays the MAX standard for the next 80 years. ++++++

( Just like famous filmakers could count on 35 for their careers)

this changing formats is CRAZY!!!!

I doubt 4k tvs will be in walmarts for a good long time. so we are probably safe.
 
wouldn't consider RED Hollywood

exactly right. the ANTI hollywood.

Corporate hollywood didnt want red. Hollywood doesn't want 4k dvds.
( No studio will release on them, watch }

What Indies need now, sad to say , is a 5K dslr!

Even the red is somewhat obsolete, since the new digital projection standard
will be 4 k. and you need the epic 5 k for effects work.

sigh.
 
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