Scorpio FFA Full Frame 2x Anamorphic Primes

Sony Artisan of Imagery Jeff Berlin recently shot The Shoot, a short, in Full Frame with Sony VENICE and Scorpio Full Frame 2x Anamorphic lenses. It opened on the big Sony Crystal Display screen at NAB.

Jeff explained, “The Shoot was shot 16-bit linear in X-OCN ST. We used Servicevision Scorpio Full Frame Anamorphic 2x lenses, taking advantage of the full 24mm height of the VENICE sensor, resulting in really beautiful images.

“We came up with the idea to shoot a fashion video. Proper casting was critical, so I called the owner of a model agency I knew from the days when I lived in Milan, and I booked models with different skin tones.

“We did our color grade at Technicolor in 8K HDR and 4K SDR using Sony BVM-X300 reference monitors. Output was DPX and ProRes. We also did a DCI-P3 grade in SDR at Technicolor for theatrical projection at Cine Gear.

“My roots shooting fashion, beauty and celebrity portraits heavily inform my sensibilities as a cinematographer. As such, I’m particularly critical of how models and actors look on camera, so naturally, skin tone, texture and lens characteristics are crucial to me. The Servicevision Scorpio FFA lenses, supplied by Keslow Camera, were the perfect choice for this short. They were sharp but creamy, even painterly, and shot wide open for very shallow depth of field, looked beautiful paired with the Full Frame Sony VENICE.”

How Full Frame 2x Squeeze works:

The Full Frame 6K 3:2 (1.5:1) 6048 x 4032 Imager Mode of Sony VENICE covers the entire sensor area of 36.2 x 24 mm.

The Scorpio FFA 2x Anamorphic lens squeezes the 2.39:1 projection image to a 1.195:1 aspect ratio on the image sensor. (2.39 ÷ 2 = 1.195) The squeezed image is full height, 24mm. But the active image area does not have to be as wide as the Full Frame sensor, 37.4. It is actually 28.68mm wide. The additional picture width is cropped in post.

But, stay tuned. ScorpioUltra 70 T1.4 anamorphics are coming soon and were introduced at IBC.

Scorpio FFA 2x Framegrabs from The Shoot



Reprinted from Film and Digital Times September 2018 Edition #89-90

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