Shooting Anamorphic with ATLAS ORION and KINEFINITY MAVO LF

In this episode of Bare Bones Camera, cinematographer Leigh Lisbão Underwood takes you behind the scenes on the making of the short film FLIGHT, and talks about the creative and technological choices behind shooting a fiction film in anamorphic with the Kinefinity Mavo LF and Atlas Orion Anamorphic lenses. This deep dive into the cinematography approach to the film (coming soon to the festival circuit) offers insight and inspiration for narrative filmmaking, on a tight budget but with ambitious aspirations, where cinematic images and visual style can be the key to storytelling for the big screen.
Coming soon: a look into the lighting choices behind FLIGHT, and the tools that were used to achieve a natural, cinematic lighting look.
Thanks to Kinefinity, Movcam and Atlas Lens Company for their support in the production of FLIGHT and these episodes for Bare Bones Camera.
Music used:
FREE DRIVING by Reminiscor - from Fugue
MIAMI - from Fugue
icons8.com/music

[@drydockstudios]

Ok, this has to be one of the best video explaining anamorphic filmmaking. Well done.

[@joenicklo]

I definitely thought that it was a real airport. Great job! I love your explanation on WHY you used anamorphic lenses. Most filmmakers say "because it looks cinematic". Talking about how the imperfections helped hide the fact that the location isn't a legit airport was on-point, especially since...it fooled me.

[@JacksonHayes]

Very intriguing camera! Great BTS, thank you!

[@studioavenir6726]

Wow, fantastic video. There is so much one can learn from this. You really deserve more views on this one. Thanks for sharing.

[@BareBonesCamera]

Thanks for the warm review! Feel free to spread the word!

[@austindanielblasingame9534]

Very helpful. Thank you.

[@sixsoxsex1]

Why it look so better and cinematic than videos on SIRUI 50mm 1.6x , is more because the camera or the lens?

[@CombatWorks]

Lovely work!Quick question regarding the setup. Do the Orions work with the kinefinity PL mount II? Which mount did you use?The older PL (Version 1) or the newer one (version II). Many thanks

[@VinceCheong]

There's some really amazing shot you did with the LF paired with the Atlas! Well done! looking forward to the actual short film if it ever comes on the net :)

[@BareBonesCamera]

Thanks! We'll be sure to post info about the film as it gets released.

[@FlyingJackalope]

Nube question: what were the white square stickers on your matte box?

[@LadyShayD]

Nice video. Looks like u chose the set of 40,65 and 100mm. Any reasons for that? I prefer this set and not the one with 32,50,80 mm lenses but soon there will be a 21mm and a 25mm available. If you could pick two of the eight lenses, which would they be? I would go with 25mm and 40mm.

[@PuppyGutsProductions]

Great breakdown! This is the exact combo i'm looking to use going forward. I would love to see the finished film. Which brand of +.5 dioptre did you use?

[@BareBonesCamera]

Good to hear! We used a set of Schneider 138mm diopters.

[@unclejezza]

Really helpful! Thanks

[@BareBonesCamera]

Glad it was helpful!

[@super_goode]

Where can I watch this?

[@VIPAH]

Thanks for the Anamorphic info! Why not choose X2 Anamorphic over 1.33X ? Is there much difference in the overall look or does the Mavo LF not support X2 Anamorphic shooting?

[@PuppyGutsProductions]

It is x2. The Atlas Orions are x2 lenses. He used the Mavo LF in 6:5 mode which when de-squeezed for the x2 optics creates the 2.39:1 aspect ratio seen in the film.

[@BareBonesCamera]

Corie is correct! The Mavo LF supports all kinds of Anamorphic squeeze ratios. We preferred 2X because the anamorphic look is more pronounced.

[@MrMikePalma]

what lighting did you use inside the airplane? looks awesome!

[@BareBonesCamera]

Check out our other video, there's an entire overview of the lighting in this film!

[@DeanHarringtonimages]

Well done... I'm interested in the Kinefinity 'Edge' 8K... your toughts?

[@BareBonesCamera]

A very exciting camera that we're looking forward to testing... could be we'll have some videos about it quite early on! ;)

[@TevinFosterDP]

@@BareBonesCamera can’t wait to see!

[@iBICISHOP]

What diopters did you used ?

[@BareBonesCamera]

They were Schneider 138mm diopters.

[@iBICISHOP]

@@BareBonesCamera Thanks

[@tigran3409]

Can you tell more about Armenia, why and how did you decided to shoot in Armenia, about armenians in crew and stuff like that. P.S. Im from Dilijan, Armenia, so its interesting to know about your experience in Armenia.

[@BareBonesCamera]

Thanks for your comment! Shooting in Armenia was a great experience - the crew we worked with was very professional. The director and production team is Armenian and some funding sources were Armenian, so it made sense to shoot there. In fact, we shot a large portion of the film in Dilijan.

[@FlyingEyes27]

I wanted ask, why not RED. But when kinefinity your sponsor, it's understandable

[@BareBonesCamera]

Red isn't the only camera out there, and for this film the DoP actually preferred the look of the Mavo LF. There are of course many other options - BTS footage was shot with a Sony for example.

[@FlyingEyes27]

@@BareBonesCamera Haha I know 😂 but the Gemini is so good to work with.

[@sornkeadsiri2643]

Who's the woman that said action 🖤

[@miskec13]

I see dostorted lines, thats ok, lenses have that. But looks to me that the lines are rotated litle to the left. I dont know much about anamorfic but i know dat lens must be strait and looks like the lens is not prfectly strait. Or? Sory for my bad eng