There are various techniques that filmmakers use to tell compelling visual stories. Every technique that goes into the process of making a cinematic film has an impact on its overall look and feel. Details like lens selection, focal length, camera movement, diffusion, lighting, stabilization, and color grading all play an important role in the final look and feel of a film. All of these elements come together to spark our imagination. Throughout my years as an aspiring filmmaker, I’ve come to realize that one of the most important techniques that allows filmmakers to create cinematic magic is Anamorphic cinematography.
What is Anamorphic Cinematography?
Anamorphic cinematography is a specialized filmmaking technique that has been developed and refined during the last 70+ years of movies and cinema.
Although we’ve come to associate the classic visual characteristics of Anamorphic filmmaking with cinematic films, the interesting thing about these recognizable cinematic visuals is that they weren’t initially devised for use in filmmaking.
Anamorphic optics were initially developed during World War 1, by a French physicist and astronomer named Henri Chrétien. The main goal of his 1920’s invention was to use an Anamorphic lens to “squeeze” a wide-angle image with a 180-degree field of view, onto a standard aspect ratio viewfinder for use inside of a military tank.
The rights to Henri’s Anamorphic inventions were subsequently purchased in the1950’s by 20th Century-Fox, which adapted the technology for use in cinema and filmmaking. They named their iconic Anamorphic aspect ratio CinemaScope, and it’s been the standard for immersive cinematic filmmaking ever since.
CinemaScope came about with the prevalence of television programming in the 1950’s, and a need for the movie studios to compete with the popularity of home television. The goal of the cinematic filmmakers and movie studios at that time was to create a unique viewing experience that was completely different than what people were watching at home on their TV’s. It was meant to draw people back to the movie theaters for the unique CinemaScope experience that was only possible through Anamorphic filmmaking.
What do Anamorphic Lenses Do?
Anamorphic lenses are designed to compress the horizontal field of view of cinematic images, in order to capture a wider field of view than the standard aspect ratio of a 35mm film frame. They compress the captured image through the use of various “squeeze ratios,” some of which include 1.33x, 1.6x, and 2x.
During projection and post-production, the horizontally compressed images captured with Anamorphic lenses need to be “de-squeezed” in order for them to be displayed properly.
Anamorphic lenses give cinematic images a unique aesthetic. They typically have a nuanced and shallower depth of field than an equivalent focal length spherical lens, and use special lens coatings to create different colors of classic horizontal lens flares. They also feature classic elongated oval bokeh, which has become very recognizable in Anamorphic filmmaking.
Using the DJI RS3 Pro and LiDAR Range Finder for Anamorphic Autofocus
One of the barriers to entry for Anamorphic filmmaking has always been the fact that Anamorphic lenses need to be manually focused. They don’t typically lend themselves to solo creators, or for shooting fast action, where the lens needs to constantly rack focus to keep up with a moving subject.
This limitation has served to put Anamorphic filmmaking somewhat out of reach for most smaller production crews or solo creatives. Although, the DJI RS3 Pro Gimbal now offers a unique solution to address this limitation with its LiDAR Range Finder.
The Lidar Range Finder works in conjunction with the RS3 Pro and the DJI focus motor, translating focus depth information to any manual focus lens in real-time. That process essentially converts manual Anamorphic cinema lenses into fully autofocusing lenses that can keep up with tracking fast moving subjects.
This setup can now take the place of a dedicated focus puller, or First AC, and makes Anamorphic filmmaking way more accessible to the masses than ever before.
Personally, the DJI RS3 Pro and LiDAR Range Finder unit has been a game-changer for my filmmaking. Over the course of the last year, I’ve been able to capture captivating Anamorphic footage with the RS3 Pro, the LiDAR Range Finder, and the Sirui Venus 35mm T2.9, which would not have been possible any other way.
What I Captured with the DJI RS3 Pro and LiDAR Range Finder
I was able to capture fast-moving motorcycles and jumping BMX riders with precise focus and tracking. These types of shots are typically extremely difficult to focus by a single camera operator, but I can routinely execute them with minimal effort using my setup.
By having the DJI RS3 Pro LiDAR Range Finder handling autofocus, I can pay attention to my composition, camera movement, exposure, audio, and all of the other elements of filmmaking that are nearly impossible to manage when having to constantly manual focus. It frees me up to focus on storytelling.
I’ve been enjoying the process so much that I’ve even put together a setup that allows you to use the DJI LiDAR unit without having to attach it to the RS3 Pro. All you have to do is calibrate your lens with the LiDAR Unit once while mounted on the RS3 Pro. Then, save the configuration to one of the LiDAR’s three memory banks. This takes the versatility and usefulness of the setup even further by allowing you to remove your camera from the gimbal, and shoot Anamorphic video with full autofocus using your own handheld cinema rig.
Let’s take a look at the gear that I use in my setup:
- Sony Alpha 1 Mirrorless Camera
- DJI RS 3 Pro Combo Gimbal
- DJI Ronin LiDAR Range Finder
- Sirui 35mm T2.9 1.6x Anamorphic Lens
- Atomos Ninja V
- Kondor Blue Full Camera Cage
- Kondor Blue HDMI Cables
- SmallRig 3266 USB-C to D-Tap Cable
- Smallrig Start/Stop Handle
- SmallRig V-Mount Battery Mounting System
- SmallRig VB99 99Wh Mini V-Mount Li-Ion Battery
- Vanguard VEO Active 53 45L Camera Backpack
- Vanguard ALTA PRO 2V 263CVP 3-Section Tripod
This is all the gear I used to achieve autofocus with Anamorphic filmmaking. Everything from my Sony Alpha 1, which offers amazing video up to 8K 30P, to the supporting accessories and cables.
Sirui Venus 35mm T2.9 Anamorphic Lens
Notable items include the Sirui Venus 35mm T2.9 Anamorphic Lens, which is built with high-quality optics, smooth focus and aperture rings, and delivers dreamy images with the classic Anamorphic lens flares and oval bokeh.
Atomos Ninja V
The Atomos Ninja V is another critical piece in my kit as it serves to give me a real-time 1.6x de-squeeze view of my Anamorphic footage. A monitoring LUT corrects the flat S-Log 3 color profile from my A1. Having the Ninja V allows me to see my final shot with the correct color and aspect ratios, which is super useful on location. It’s also great in bright sunlight, with its 1,000 nit 5” HDR display. It can even record ProRes internally to an SSD hard drive.
Kondor Blue Camera Cage
The high-quality cage system from Kondor Blue is another important part of my Anamorphic cinema rig. It serves as the foundation for all of the supporting gear to make it all come together. I’ve been really happy with its quality and performance.
SmallRig Handle and Plate
The Smallrig handles are made of wood, feel great in the hand, and have a shutter control cable, allowing me to easily trigger my recordings from the button on the handle. I’m also using the V-Mount plate to mount the battery that is powering the DJI LiDAR Range Finder without the RS3 Pro gimbal.
For shoots where I want to use my Anamorphic autofocusing setup without my gimbal, I use the SmallRig VB99 99Wh Mini V-Mount Li-Ion Battery to power everything. It has a high voltage output that can power everything from the DJI Lidar Range Finder, to my Atomos Ninja V, and even my Sony A1 — all at the same time. It features an OLED display on the side, which lets me know how much power I have remaining and how many volts each device is drawing. It’s also travel friendly and can be taken on flights, since it’s below the 100W limit for air travel.
Last but not least, I pack everything in my Vanguard VEO Active 53 backpack, and use my Alta Pro 2 video tripod to shoot my rig on a tripod when I need a locked-off shot.
Conclusion
Anamorphic cinematography is fun to shoot, beautiful to look at, and can help to make your filmmaking stand out. It’s even more accessible now with amazing options for economical and high-performing lenses. Game-changing innovations like the DJI RS3 Pro and LiDAR Rangefinder Unit can turn any manual lens into an autofocusing one.
