Sentences with phrase «anamorphic lenses»

Many of the choices they made to create a sensation of unease were very subtle: although they shot with anamorphic lenses, they picked some that only created a slight distortion, and the zooms they used followed a straight line rather than something flashier.

With cinematographer Jakob Ihre, Trier decided to use anamorphic lenses instead of the more naturalistic spherical lenses of his earlier films.

Moment won't have the first anamorphic lens adapter to market — Moondog Labs had one years ago, which was used to shoot Tangerine on an iPhone 5S — but this is the first time Moment has offered one.

Annihilation was photographed digitally in the Sony X-OCN, Sony F65 RAW, and Redcode RAW codecs (at 4K and 6K resolutions) using Sony CineAtla and Red Weapon Dragon cameras with Panavision anamorphic lenses.

In order to quickly transition to widescreen production, the studio hired Japanese directors and cinematographers, and used Japanese anamorphic lenses to enhance production values by embracing colour and widescreen.

Chibnall points out that the U.K. industry generally resisted Fox's promotion of CinemaScope as a production format, but instead adopted compatible anamorphic lenses such as the Cinépanoramic from France and Scandinavian lenses that were used for, respectively, CameraScope and Hammerscope.

Much has been made of the fact that Baker shot his film on three iPhone 5s, using a clip on anamorphic lens — an impressive feat considering how gorgeous the final product is.

One stylized montage, unexpectedly set to a surging symphonic work by Beethoven, uses anamorphic lens effects to distort and flatten out the sun - drenched streetscape behind its subject's head.

Much of the attention for the movie has centered on its preposterously low shooting budget and camera, an iPhone 5s with a $ 7.99 high - def app, a Steadicam rig, and the odd anamorphic lens.

and enhanced for 16x9 displays, the three - hour Director's Cut features shallow contrast that, along with some softness to the image, seems intrinsic to cinematographer Miroslav Ondricek's lighting schemes and anamorphic lenses circa the mid-Eighties, respectively.

Panavision reconfigured and applied new coatings for focus pulling, made a 2,000 - foot magazine to accommodate his penchant for long takes and provided anamorphic lenses for 70 mm projectors.

and the COPIOUS amounts of unmotivated anamorphic lens flairs...

Bordwell points out that the Japanese influence is only one factor in the style of the films, so although they were often shot with the same Tohoscope anamorphic lenses that Akira Kurosawa was using in Japan, Shawscope films don't look exactly the same as their Japanese counterparts.

It is actually quite impressive what a «filmmaker» can accomplish with a cell phone, an attachable anamorphic lens and an $ 8 app for editing.

Anamorphic lenses capture such a wide field of view, they have to squeeze the image down so that it can fit on a standard - sized sensor (or film strip).

Boyle and his D.P. Alwin Kulcher found a way to photograph light as an almost physical presence by shooting scenes involving artificial light with anamorphic lenses, causing flares to appear distorted, and by using standard Super 35 mm lenses for circular flares whenever rays of sunshine seep in.

That said, it's a bizarre choice for Tarantino to set his story so minimally and confined when he's decided to shoot the film on 70 mm with Panavision anamorphic lenses and a wide aspect ratio that's normally suited to grand, outdoor filmmaking.

John Gibbs and Douglas Pye's chapter is also interested in widescreen stylistics as they examine the contrasting styles of Otto Preminger's CinemaScope film River of No Return (1954) and Sam Peckinpah's Junior Bonner (1972), shot in Todd - AO 35 (a Panavision - like format based on Japanese anamorphic lenses).

Best - case scenario: Shot using anamorphic lenses that haven't been used since the»60s and with an original score by Ennio Morricone, The Hateful Eight could see Tarantino surpass his usual exploitation influences and make an old - fashioned Western epic worthy of Sergio Leone.

Shot entirely on an iPhone (though you wouldn't necessarily guess that by looking at it, as director Sean Baker outfitted his phone with an anamorphic lens adapter), this gleefully hyperactive Sundance favorite observes the odyssey of two transgender sex workers — played by actual transgender actors, refreshingly — who are angrily looking for a cheating pimp.

Fine detail is tempered by the use of Panavision anamorphic lenses, enhancing the cinematic quality of a notably grain - free — and thankfully noise - free — image.

Paul designed the new look for Pinhead and was production designer on the shoot and Le Han pulled in all of his film resources and directed the teaser on the new Alex 4:3 camera with anamorphic lenses.

«The Hateful Eight»: The race is partly a large - format wilderness shootout because three - time Oscar winner Robert Richardson literally stumbled upon Ultra Panavision 70 anamorphic lenses that hadn't been used in 50 years.

«Contempt,» a satirical drama starring Brigitte Bardot and Jack Palance, was released in 1963 and is regarded as one of the finest films ever made in CinemaScope, an anamorphic lens used from 1953 to 1967.

Shot on iPhones affixed with anamorphic lenses, Tangerine follows a breathless day in the lives of two transgender prostitutes as they race around downtown Los Angeles in order to get to the bottom of a bizarre love triangle.

We used these anamorphic lenses, they're quite old and they have these aberrations.

With anamorphic lenses, everything is overwhelming, so powerful, because there's so much space around the character.

We just had three anamorphic lenses and we mostly shot with the one that is equivalent to the 40 in 35 mm.

Braveheart was shot photochemically in 35 mm using Panavision cameras and anamorphic lenses.

The 2.35:1, 1080p image contains a lot of soft focus, but this is due to both the diffusion the filmmakers favour and the anamorphic lenses that were available to them at the time.

Practically a Star Wars prequel in its use of digitally - generated environments, and shot in a mix of Super35 — sometimes with anamorphic lenses, for the focal distortions — and HD (the ARRI Alexa was reserved for low - light and greenscreen - heavy shots) by Argo DP Rodrigo Prieto, The Wolf of Wall Street nonetheless boasts a cohesive, credible, and cinematic Blu - ray presentation with glassy detail and supple dynamic range.

He begins by informing us that the picture was shot in Super35 using anamorphic lenses («So it's real «scope, not fake «scope»), something I didn't even know was possible but that goes some way towards explaining the clarity of the image.

«Part of the package of genre film is anamorphic lenses.

The image is sharp enough that you can clearly see where it goes soft towards the outer edges of the anamorphic lenses, as well as make out some rack - focus effects that were lost in the video murk on DVD.

The Dark Crystal was shot on 35 mm photochemical film using Panavision cameras and anamorphic lenses.

Due to the use of an anamorphic lens, the projection is strikingly horizontal, thereby emphasizing the reference to historical landscape painting.

All of the products, including the anamorphic lens, are actually a bit lower on Kickstarter, if you're willing to preorder there.

Many projector manufacturers offer 2.35:1 (anamorphic) viewing options that provide expensive add - on anamorphic lenses with motorized «lens sleds» that truck the anamorphic lenses into position for 2.35:1 (Cinemascope) viewing, then pull the lenses out of...