CASE STUDY ANAMORPHIC FILMING
All well and good, but the problem, of course, is that those working with cameras that cost a couple of thousand pounds or dollars aren’t likely to then want to shell out tens of thousands more on a dedicated anamorphic lens to pair themwith. This is where much more cost-effective adapters come in, and there are several on the market that claim to be able to do a job. However, these can be of varying quality, and up until now it’s been difficult to find something affordable that can deliver an end result that’s genuinely up to professional standards. Now things have moved on, thanks to the recent introduction by SLRMagic of its Anamorphot 1.33-64 Adapter. Priced at around £1600/$1499, the device screws into an 82mmfilter thread and could in theory be used with any lens with that facility and a front element size of up to 65mm in diameter. However, this accessory has been specifically designed to partner Fujinon’s MK cinema lens pair, and the combination of a high optical quality lens with an adapter that’s been created from scratch to partner specific
“I’vealwaysreallylovedtheanamorphicapproach. It’s such a classic cinematic look, and it adds a beautiful filmic quality to your video footage”
optics promises to deliver something that’s potentially going to be of considerable interest to the serious filmmaker. Testing the set-up Photographer-turned-filmmaker Jim Marks has a reputation for being pragmatic about gear, and he prides himself on his self-made bespoke set-ups that often incorporate adapted bits and pieces and the occasional strip of strategically-placed gaffer tape. There’s nothing Heath Robinson about the end results he achieves however; rather it’s a case of having an enquiring mind and being prepared to think out of the box to ensure something is completely compatible with the job in hand. Not surprisingly Jim– who is equally at home working with the likes of top-of- the-range RED cameras by the way – was an enthusiastic user of the GH4, GH5 and now the filmmaker-specific GH5S, and he quickly saw the advantage of pairing this neat and compact camera with the Fujinon MK cinema pair. Using MTF’s adapter he was able to create a lightweight and nimble rig that was ideal for handheld filming and taking on overseas assignments. That anamorphic facility on his camera was always going to be something he couldn’t resist exploring, and experiments with SLRMagic’s Anamorphic three-lens 35/50/70mm prime set plus separate pairings of lenses with a selection of cheap Russian anamorphic adapters have been ongoing, with various degrees of success. The introduction of an adapter that was specifically created to partner the MK 18- 55mmT2.9 and MK 50-135mmT2.9 was an invitation to get it in for a test, and he
ABOVE The classic anamorphic look is long and wide, much like vintage CinemaScope, and it’s a very pleasing and cinematic feel. Note how highlights have a characteristic oval feel and flare is part of the overall look.
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PRO MOVIEMAKER WINTER 2018
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