This is the third lens test reel showing the use of a ElmoScope-II 2:1 anamorphic adapter lens with various prime C-mount lenses, you can see demo reels #A2 and #B1 also on from my video page for spherical (flat) shooting examples also for 2.35:1 wide screen shooting mode. I am testing various lenses for use in film-making projects using the Super8 format Digital Cinema Camera called the KineRAW-S8p (tm) made in Beijing China. This camera records fully uncompressed at various cinema aspect ratios and resolutions, this video was shot at email@example.com 102.4MB/s to high speed SSD in the camera. 1828x1556 is the standard "2K" 35mm movie film scanner pixel resolution of the Kodak Cineon (tm) film scanner's Panavision (tm) or CinemaScope (tm) pixel resolution used for making Digital Intermediate (DI) for movies that you may have seen in movie theaters, that same 1828x1556 pixel resolution is used in the film recorder, such as made by Celco (tm) to output the scanned images back to the 35mm printing negative film stock used to make 35mm film prints for projection in movie theaters. The KineRAW-S8p (tm) prototype camera can dump the SSD to a notebook HDD in the camera so my setup was 60GB SSD and 500GB HDD for these lens tests. The camera can take C mount, CS mount, and D mount (regular 8mm) lenses. The image area varies with the resolution mode, some modes are about Super8 size so C mount lenses made for Super8 cameras may be used. the frames were processed in a free program called DANCINEC.EXE (tm) that is on my web site for download and "beta-testing". The workflow was DNG to TIF, the TIF were edited in my 'freeish' DI/NLE/CC/MIX software DANCAD87.EXE (tm) and output as BMP frame set letterboxed 1920x1080, that was converted into a MPEG4v2 6000kbps AVI in VirtualDub (tm) and uploaded here. There is stereo sound on this reel, the camera can record sync sound 48000 samples/second stereo, and has an autoslate beep, slate information stored in each DNG frame's meta-data, and Date+TOD plus SMPTE TIME CODE for sync with an external sound recorder or SMPTE slate etc. The camera used is a pre-production prototype that I am testing for use with my free de-Bayer software I am developing for use with CinemaDNG recording uncompressed Digital Cinema Cameras like Aaton (tm), Acam dII (tm), SI-2K (tm), Kinor-2K (tm), digital Bolex (tm), KineRAW-S35 (tm) (in second prototype in house testing now in China), planed KineRAW-S16 (tm), planed KineRAW-S8 (tm) (production model of the camera being tested here) and for use in my own filmmaking projects. The KineRAW-S8 (tm) production cameras may be somewhat different from this test camera and I may be able to improve the results that my de-Bayer program produces as I am still experimenting with various filter adjustments and code developments. this was processed mostly with v0.05 to v0.06 while they were being worked on. If you have any thoughts or questions about the de-Bayer processing you can email me through the address at my program's web site. You can google Kinefinity (tm)'s KineRAW (tm) cameras to read more about their camera development, I am not involved in sales of the cameras, just trying to work with them to support their and other companies DNG recording Digital Cinema Cameras. You can google DANCAD3D (tm) to find my web site. If you see some white marks on the scrolling titles that seems to be a compression artifact. I will probably have some uncompressed frames from this video to email back if you are interested in seeing how the images would look on a 35mm film transfer or to be used as a source for Blu-ray or DCP for projection in a digital movie theater. The Camera shots 100% uncompressed, so there are can be some losses or banding and noise differences in the double compressed version you are viewing here.
The KineRAW-S8p (tm) also shoots 1920x1440 in addition to 1828x1556 and has adjustable anamorphic un-squeeze in its 1280x720 HDMI viewfinder with color look up tables for semi-accurate monitoring. Because of the need for horizontal enlargement from 1828 to 1920 to make this letter boxed demo video there are some resize artifacts. 1828x1556 is best to shoot for going 1:1 pixel to 35mm printing negatives, but if your goal is to release to DCP or Blu-ray only, it may yield better results to avoid the horizontal enlargement by using a 1.75:1 anamorphic lens (rare but can be found from time to time) and shoot using the 1920x1440 mode, that yields the same 2.35:1 aspect ratio (Panavision (tm) 'Scope) as shooting 1828x1556 with a 2:1 anamorphic lens. In fact the ElmoScope-II adapter does seem to squeeze less than 2:1 in the center when used with longer focal length lenses and some space between the adapter and the prime lens, so the squeeze ratio may be closer to 1.8:1 rather than 2:1, it may be rated for the maximum horizontal angle of view and have some anamorphic barrel distortion so its squeeze ratio may average 2:1 but be less in the center and a bit more at the sides of the frame, at any rate, minor distortion is part of anamorphic shooting so using the 1920x1440 mode to shoot with rather than the 1828x1556 may not be as much of a departure from standards as it may seem, and the end result may look better, I will have to try that if I get time later. With the projection of film prints apparently having an end point, consideration of getting the best results for re-size to 2048x858 for DCP projection in Digital Movie Theaters may weigh heaver in ones plans of the shooting format to use in making your camera frames and Digital Intermediate.
I would like to thank my Brother David for his help with the making of this video, he did most of the work with the model and set construction, helped setup the lights, acted the parts, and did the off-line edit and preliminary sound mixing using Power Director 9 (tm). I finished the grading and sound mixing and did the letter boxing and sub-titles with my freeish DI system, DANCINEC.EXE (tm) and DANCAD87.EXE (tm).
There are some technical issues with the image quality, due in part to the very low light levels used, and the need to shoot much of the footage at f/ 0.95 to get the lens flares that are the main reason for shooting with anamorphic lenses.
If you were shooting a wide screen movie, like 2.39:1 for DCP projection, you would shoot using the 2592x1104 resolution most of the time to get better resolution and fewer resize and de-Bayer artifacts, and only shoot 1828x1556 or 1920x1440 with the anamorphic lens for effect shots where the anamorphic lens flares and distortion are needed to say 'Scope "Panavision (tm)" type feature film "look" to your audience. Although real Panavision (tm) lenses are much sharper than the ElmoScope-II adapter lens with a Schneider f/0.95 prime lens, people use nets and diffusion filters on Panavision (tm) lenses, but with the ElmoScope-II (tm) lens you don't need any diffusion since it has its own "organic" diffusion and flare effects that are richer than any diffusion filter can make because they depend on the many cylindrical lenses causing light to bounce around inside the lens, unlike "fake" anamorphic streak filters being sold now as an "alternative" to using "real" anamorphic lenses to shoot wide screen movies with.
You will have to view this video from about 3x the image width on your monitor, and use at least a 1920x1080 monitor for viewing, as re-sizing the video may introduce artifacts into the images that are not there when viewed 1:1 pixel actual size, so that means that if your monitor is larger than 1920x1080 don't use the "fit screen" feature as that would scale the image larger and any time you enlarge images you make things look worse.
As far as the black level and contrast go, there is a test pattern at the start of this video right after the head title card, please pause your viewer on that test chart and adjust the contrast and brightness before you view the video demo reels. You should adjust your monitor brightness to just barely be able to see the #4 rectangle with the #3 rectangle being almost as black as the black area (#0), and also adjust the monitor contrast so that you can see at least the #253 white from the #255 area, although some LCD monitors may burn out the highlights and not let you see the full range the KineRAW-S8p (tm) can capture. Some of the cameras range was pushed to the ends of the scale in the graded frames to get the contrast higher, as 12bit data needs to be graded for display on an 8 bit monitor, so keep in mind that the camera's True RAW DNG frames tend to have more tonal range than you can see in these 8bit videos.
I included a section after the main edited part that shows what the camera's True RAW DNG data looks like without color correction or grading, or even un-squeeze, its dark, green, soft focus from the OLPF filter, and low in color saturation, as you will see, that shot is not "under exposed" in the normal sense of the words, Digital Cinema Cameras are exposed at -2 to -4 stops over what a video camera would be exposed at, so the True RAW images should look quite dark, not totally black as that would cause too much noise, but quite dark, the KineRAW-S8p (tm) can monitor on its HDMI output as True RAW so you can see what the sensor sees, and the built in on screen waveforms and histograms can show the sensor raw signal levels also, as well as processed waveforms and histograms using the monitoring LUT for a more "correct(ed)" video type monitoring of the signal levels as they would be in the graded images. The camera saves 3D-LUT made from the monitoring LUT for use in various workflows to get color matching to what you see on the camera's monitor. You can select 1:1 pixel 100% zoom and 200% "super zoom" as well as full frame monitoring at any time, while shooting, while in playback, and while doing setup, the 200% zoom was added after much of this footage was shot, and would have helped get the focus better if I had 200% zoom sooner, likewise the anamorphic un-squeeze came late in the shooting but gives in effect a 400% zoom when combined with the normal zoom so you can adjust the astigmatism adjustment on the anamorphic adapter better than using just the full frame view that way.
A bit too late I figured out that the best way to align the anamorphic adapter to the camera horizon is to point a flashlight into the anamorphic adapter from a distance so you get horizontal flares, and then rotate the anamorphic adapter in its holder until the flares are parallel to the green guide lines on the cameras LCD monitor, that way you avoid some parallelogram distortion from not having the anamorphic adapter rotated so the cylinder lenses are vertical to the sensor columns.
If you have any questions about how this anamorphic video was made watch all the way through to see the behind scenes part of the video, and then ask here by posting your questions and I will try to answer so others can see the reply as well.
The small distortions in the audio seen to be over SPL on the microphone rather than a fault in the KineRAW-S8p (tm)'s recordings, I may need to move the mic a bit away next time.