http://www.vimeo.com/campcomet/anmamorphic (not a typo)

3.55/Non tweaked version

From the vimeo description: > WARNING: CAMERA SHAKE

I had to hold up NDs while trying to handheld and focus at the same time. You have been warned.

Music: Anma Mama - Eureka 7: Astral Ocean

UNCROPPED/NON SCAN VERSION/NON TWEAKED VERSION HERE: ( soon)

Hot Rod Cameras PL mount Kowa Anamorphics (40, 50, 75, 100) from Blacklist Productions GH2 w/Sedna Q20 Hack @ 1080/24 and 720/60 Smooth

Composed with TVLogic 5.6" w/2.40 stretch (close enough)

Just grabbed some whatever-kinda-footage to test out the new old set of Kowas. Really like them, much better than the set of Lomo squarefronts that I've used. Not Hawks or Panavisions but I'm considering shooting my next few projects (feature film included) on this set.

Stuff was lightly tweaked in final cut, just a straight log and transfer no 5DtoRGB this go 'round.

Interestingly enough I found a really cool way to rig up the Hot Rod PL mount, a Noga Arm, and a 5.6" that helps me hold it all a bit steadier...

UNFORTUNATELY... I had to hold up NDs while trying to handheld and focus at the same time as you were warned up front.

Will have to work that situation out, but it was still fun.

Desqueeze Process:

1. Convert from AVCHD to ProRes (was probably LT honestly) in Log and Transfer
2. Change Aspect Ratio in FCP on All Clips (drag one to the timeline, get the aspect ratio down, copy, drag all of your clips to the timeline, select them all, click paste attributes, select basic motion and distortion, click apply, drag all clips on the timeline to a new bin at once)
3. Adjusted the image as I saw fit as far as center

The reason I did this? Didn't see any worthwhile difference or benefit to doing another file conversion just to get the aspect right, nor did I think the time spent was worth losing the ability to reframe even if it was left to right.

Others mileage may vary.

If you're interested in pictures of the rig you can ask me.

Will put some pictures up of the rig here, forgot them on the work tower.