While it would certainly be nice if it didn't have it, I don't think it makes the lens unusable and in most general situations I don't think it's that noticeable. I think you see it if you know its there, but many people I've worked with don't notice or care. It's relatively minor (1.8x to 1.6something at the worst) and correctable in post. A few more seasoned DPs I've spoken to are familiar with many (but admittedly not 'most') anamorphic lenses that have the same problem.

To start with we've used an X-Rite Profiler to do a rough calibration and then we run a lot of the material live through Davinci Resolve Studio to allow us to tweak settings in real time.

Off the top of my head I believe we are close to scope aspect ratio with around 2500x1080 pixels and approx 800-1000nits. We change the Hz / refresh rates depending on the project so I'm not sure which we use more at this stage.

Yes we have! It works surprisingly well from our very basic tests but none of us are Unreal artists, so it can be pretty daunting at times.

Sorry to hear you aren't a fan, personally I quite enjoy it and do find it compliments the others nicely. Each to their own though! :)

There are great ways to get good results with cheaper methods, like green screens, and we do actually frequently use them - sometimes even in combination with the LED wall. It's worth noting that this scene took us approximately 20min to film on a Friday afternoon with practically no crew and was all completed in camera with basic stock footage playing on the LED wall and just a simple snow effect added in post. We have shot simple and more complicated scenes with the LED wall less obscured and have found that for many shoots it makes production a lot easier and significantly quicker to produce than traditional green screen, but green screen still has practical uses for certain shots, just like an LED screen makes a lot more sense for other types of shots.

Okay bro…

I probably would, it's a nice choice for S35 16:9 sensors.

A few months ago we tested a range of anamorphic lenses including the Great Joys that were available at the time along with some Vazen, Sirui, Atlas Orion, and P&S Evloution Kowa lenses (Unfortunately not the Vazen 65mm). I find them all pleasant in their own way and suitable for different work as a result. Some are sharper and more modern and others have more aggressive character. The Vazens are IMO somewhere in-between which puts them in a more challenging spot to recommend personally, but still quite nice: kzbin.info/www/bejne/qZmWg6VjrrqBick

Arri prime, really ... ? Considering to get one, watching a ton of videos

Thanks Shane! It would be lovely to see more cinematic footage out of the Great Joy lenses, maybe even some nice fiction work done with the setup :)

@@jayforcinema I'll see if I can arrange something. It might take a bit of time but maybe we can put a few short dramatic moments together 😁

@@ShaneVanLitz Thanks Shane. Looking forward to that!

They're custom lens caps because I use the Tilta Mirage clamp on mattebox rings on the lenses. I did the design and had them made by Simmod: www.simmodlens.com/

@@thestudio1847 thanks for this information. most appreciated

Panasonic S1, S5, Canon C500mkii.

@@thestudio1847 So it works on Canon cinema cameras with the internal NDs? Native EF mount?

@@chrisnguyendop Shane here from the video, yes it does. We're shooting with all 3 lenses on the C500mkii right now with the EF mounts and up to 10 stops internal ND.

@@ShaneVanLitz That's great to know. Probably won't be able to use the speedbooster with the C70 and these lenses, but the dummy adapter and lenses should work?

@@chrisnguyendop yup, I'd say so but no speed booster.

They are a bit soft wide open. In fairness though some of these tests were pretty backlit, high contrast and brutal for the lenses as well. They fair better in more typical situations.

Yup, they're custom lens caps because I use the Tilta Mirage clamp on mattebox rings on the lenses. I did the design and had them made by Simmod: www.simmodlens.com/

C500 mk2 is the cam. “Open Gate 4x3” is a little off. It’s a 4x3 S35 mode. I still love this lens. Imagine the 35 with the same characteristics of the 85mm

Actually we used Panasonic open gate full-frame cropped to 4:3 for scope as well as C500mkii 16X9 full-frame cropped to scope. I tried to note which was used where by putting 4:3 open gate where appropriate. You can also tell by the Panasonic's rolling shutter wobbling quite a bit more in open-gate mode.

Thank you!