ANAMORPHIC FILMING CASE STUDY
ABOVE In the studio Jim worked with the new adapter on one camera and an SLR Magic dedicated anamorphic lens to compare results.
quickly achieve exactly the shot you require without moving.” By selecting ‘Anamorphic Desqueeze Display’ on the camera it’s possible to view the scene you’re shooting – though not the recorded image – as it will ultimately appear, rather than as a distorted view that looks something like a fairground mirror. You can even take advantage of the GH5S’s in-body stabilisation while shooting anamorphic by opening the second camera menu, scrolling down to stabilisation and then clicking on a setting called Anamorphic (Video) with modes for 2x squeeze and 1.3x lenses.
duly hired out a studio at The Worx in west London with a view to filming a model to see what the set up was capable of. “I’ve always really loved the anamorphic approach,” says Jim. “It’s such a classic cinematic look, and it adds a beautiful filmic quality to your video footage. I’m involved in all kinds of filming, from commercial footage through to feature films, and I can see all kinds of areas where this approach could work really well. The point is that I’ve never really been able to seriously consider working in this way before due to the costs involved, but since I already own the MK
lenses this looked like an opportunity to get involved for a reasonably modest cost. “The other thing that particularly appealed to me was the fact that the set-up would effectively be an anamorphic zoom, which comes with considerable advantages when you’re working with a rig where it can take some time to change lenses over. What this means is that I could tighten up a shot or pull out a little in a matter of moments rather than go through the process of physically changing things around. Obviously I know you could always ‘zoom’ by using your feet, but it’s so much more efficient to stand your ground and to
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WINTER 2018 PRO MOVIEMAKER
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