![]() ![]() Please feel free to download the project and share this post. I hope it will find a home in your filmmaking arsenal and give you the opportunity to enhance your footage and help you tell your story. It is by no means perfect, but I spent a lot of time trying to find a way to duplicate the aesthetic of a filmmaking tool that I really love. It will however…for the very first time…give you a free and easy way to morph your normal DSLR or other 16:9 footage into a convincing and controllable simulation of the Anamorphic look. VashiMorphic will not replicate lens flares or the oblong out-of-focus areas like an actual Anamorphic lens. Render out footage to the codec of your choice. Default is 3 pixels with repeat edges on.ħ. Import your footage into the “Your Footage” layer of After Effects.ĭefault setting is 10% Opacity and 200 pixel feather.Ħ. Capture your footage in 16:9 format and frame for 2.35 during the shoot.Ĥ. Use a full frame camera with a 28mm or 35mm lens.ĪPS-C camera use a 20mm or 24mm. VashiMorphic40 applied to Canon 5DMKii / Nikon 28mm lensġ. I am proud to share with you my free After Effects Plugin Template… VashiMorphic40. It was the ONLY lens used on Roman Polanski’s Chinatown and used 95% of the time on Wes Anderson’s films Rushmore and The Life Aquatic with Steve Zissou. The Anamorphic lens that I chose as the holy grail to emulate is the Panavision Primo 40mm Anamorphic. This workflow has been optimized for cameras that capture 16:9 footage and for lenses between 28mm to 35mm (Full frame equivalent). If you drop your footage into the timeline…you will have access to 3 options that help you achieve the magical look without resorting to additional adaptors or lenses. Getting your hands on Anamorphic lenses is very difficult for the low budget filmmaker… so I created my own After Effects project template that replicates the look and feel of the Anamorphic format. I've just come off the back of a long day and my brain isn't feeling very mathy, but you could just dump a frame of the footage footage into a 4096x2160 photoshop document, stretch it to fit horizontally, then crop it down to work out the resolution.VashiMorphic40 replicates the lens curvature of a 40mm Anamorphic lensįilms shot in the Anamorphic format include: Jaws, The Royal Tenenbaums, Raiders of the Lost Ark, Pulp Fiction, Die Hard, The Parallax View and countless others. There is nothing wrong with using a non-standard aspect ratio in a DCP, so if they do want to use the whole frame you're gonna have to work out the resolution equivelent in square pixels, not exceeding 4096 pixels horizontally. All other aspect ratios are handled by matting (so black bars!) I think IMax might still use them?īut standard Cinema DCP projectors are almost always 17.9, square pixels. I am pretty sure there is no such thing as a 1.6x anamorphic projector lens, and anamorphic lenses are very, very rare on projectors these days. If production didn't shoot with that crop in mind, it's gonna throw out the framing.īecause should we want to project using an anamorphic projector in its full resolution, If you've shot 16:9 or DCI-4k, this will result in some cropping to the edges. ![]() I believe the 'correct' method for using 1.6x lenses is to shoot 3:2 aspect, which then desqueezes to (slightly over) 2.39:1 Cinemascope (4096x1716 for 4k.) You need to confirm what the intended aspect ratio for the feature is. In short, WHAT IS THE ACTUAL STANDARD PRACTICE IN PREMIERE PRO when working with 1.6x squeezed footage? Do I absolutely have to have the black bars natively? Is there a plugin? Anyone that has some sort of professional experience in this? In fact, what IS the difference between the PIXEL aspect ratio and the on screen resolution aspect ratio? So I tried playing around with the sequence settings to make them into a resolution that conforms to the proper ratio.but now I can't understand why it STILL is squeezed even though the actual sequence is reading as 3840x1600. SO I simply adjusted the scale to 63.5 x 100, and the movie is desqueezed! But we have native black bars, which the Director is insisting makes no sense - black bars should be a result of a device playing in 16:9, rather than exporting with the bars natively in there. What's the problem? Premiere has default options to interpret footage to conform to a 1.33 pixel aspect ratio, a 2x ratio, or a 1.5.no 1.6. We are in the midst of filming with a Sirui full range sensor using 1.6x squeeze, on a Sony fx9. It sems like every time it finally all starts to make sense, the director comes in with his complaints and I struggle to actually give him answers. Hey all!! I am really going mad trying to wrap my mind around all this anamorphic stuff.
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