Anamorfiska objektiv från Carl Zeiss
Till IBC 2012 kommer Zeiss att visa en serie amamorfiska objektiv med 2x komprimering för scope till digitala kameror med 4:3 sensor, alltså nya Alexa Studio med optisk sökare. Naturligtvis passar dessa för 4-perf film också.
Det är på önskemål från Hollywood, som har en förkärlek för scope. Det kommer inte att bli några objektiv med 1.3x faktor för kameror med 16:9 sensor, säger Christian Bannert från Carl Zeiss.
Anamorphic Lenses from Carl Zeiss
Christian Bannert took great pleasure in asking me to guess the third surprise coming from Carl Zeiss.
An 1800 mm T1.3 lens perhaps…I had no clue.
“We’re back in the Anamorphic Lens business,” he said.
“Blistering Barnacles,” I blurted (a screening of Steven Spielberg’s
wonderful widescreen Tintin fresh in my mind). What perfect
timing: anamorphic lenses from Carl Zeiss coming to a theater
near us. Every wave of 3D has historically been followed by wide
screen anamorphic epics. ARRI Alexa Studio cameras are about
to be delivered, with their 4:3 4-perf size sensors and anamorphic
optical viewfinders. It’s a match made in an extraordinary
alignment of heaven and earth, cameras and optics.
It’s no secret that Hollywood has had a long love affair
with anamorphic. Almost every high-end director and
cinematographer dreams of oval bokehs. The anamorphic
format’s intangible, almost 3D-like quality comes from different
horizontal and vertical focal lengths packed into one lens.
People were predicting that anamorphic would be big again
because it’s different, or because the high-end wants to differentiate
from the others. Despite all that, there lingered uncertainty
whether the market would be big enough or could afford this
kind of project for a totally new set of anamorphic lenses.
I think Alexa Studio changed all that, and may be driving the
market. I could imagine that Sony and Canon might follow with
their own 4:3 sensors. An 8K Sony “F66” with 4:3 sensor and
anamorphic lenses would be an interesting idea.
Carl Zeiss designers and engineers made working prototypes,
conducted tests, and collected a lot of feedback over the course
of several years to obtain a clear plan of how the new anamorphic
lenses should be designed and built.
Christian said, “We have the technological benefit that we believe
can produce anamorphic lenses the likes of which no one has been
able to do before. Our new anamorphic lenses will be on the market
very soon. We would like to announce 2:1 anamorphic lenses next
year, at NAB 2012, and show real products at IBC 2012.”
The lenses will not be 1.3x squeeze—representatives at Carl Zeiss
feel the real anamorphic look comes with 2x squeeze.
Christian Bannert concluded, “This will be a complete family of
anamorphic lenses, with all the focal lengths needed to shoot a
movie. As experts in photographic lenses for more than 120 years,
we know the specs and hurdles. We can offer something unique to
the market. It will be really revolutionary.”
By this time next year, holiday audiences may be watching a
wave of widescreen major motion pictures shot with Carl Zeiss anamorphic lenses.
From FDTimes, Jon Fauer