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 PRO REVIEW 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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