I’m done with shooting for Overnight and now we’re into post-production. There were a lot of first-time experiences in this project. Are you particularly interested in any of them? Let me know in the comments!


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Hey guys, Tito Ferradans here! A couple of weeks ago I posted about Overnight, my directing project at school. Shooting went great, the team was awesome and our timeline is flying by. This week we got a locked cut and I’m moving into post-production. There’s a fair amount of visual effects to be done plus all the color correction, sound design and score. For post-production’s sake we shot it RAW on the Blackmagic Cinema Camera using only two lenses – the LOMO Foton-A, mostly at f/5.6 for sharpness, and the Sigma 18-35mm ART provided by Vid-Atlantic for wider shots and some of the VFX plates.

I put a lot of effort in pre-production in order to figure out exactly which shots I needed to tell the story and I was astonished to see the storyboard translating into real life frames. You can find high-res versions of the boards here.

This project involved a bunch of first-time things for me, like directing (heh!), bringing a horror story to the screen, creating concept boards for my monster and main character, not handling the camera, working with actors, lighting it on the fly, with little time between each setup, having a full crew (sort of), special effects make up, anamorphic + CGI (still getting there), and a test-workflow for post, using Resolve to create stretched/cropped proxies from the RAW footage for my editor. Which of these subjects would you like to see better detailed in another video?

To finish off this episode I cut a little bit of the opening sequence as a test. Color is overdone and sound is all temporary. This aims just to create a bit of the feeling of the piece. I hope you enjoy it. I’m Tito Ferradans and I’ll see you next week!

A quick tutorial on how to deal with anamorphic footage in DaVinci Resolve. There are other ways, but this one was the simplest for me.


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Tito Ferradans here for another quick episode of post-production Chop Shop. In this episode I’ll go over adjusting the settings in Resolve for anamorphic. It’s a simple process and you’ll get it going in a few minutes.

First off, start Resolve, go into your project and import the footage to the Media Pool. Now go to File > Project Settings. Here we’ll change the Timeline Resolution. The numbers will vary according to your wish. I wanted a 2.66:1 aspect ratio. You can choose whichever aspect ratio you desire and the math works like this:


For me, the width is 1920, so 1920/2.66 = 720. If it were 2.4:1, 1920/2.4 = 800. The same applies to any resolution. I might make a calculator for that, if you help me out on Patreon!

I prefer reducing the height rather than extending the width in order not to push resolution too far. A 1920×720 frame will hold much more detail than a 2872×1080. But that is my personal preference and you can do whatever you want. Just reverse the math:


Watch that I haven’t mentioned my lens’ stretch factor yet. I was shooting on the Blackmagic Cinema Camera, which is 16:9 and using 4:3 guides for framing. So I HAVE all the information on the sides, but that will be discarded on the final project.

Now that we set our Timeline Resolution, throw in the footage onto a timeline. Resolve is smart and helps out by rescaling the clips a bit. Even though our timeline is 720 pixels tall and our footage is taller than that Resolve doesn’t crop the top and bottom of the image. This can be adjusted by selecting any clip in the timeline, going into the Inspector and then to Retime and Scaling. There you can set different presets. I would stick to Fit, and that is the default setting, because it keeps the entire height of the image.

SIDE NOTE: If you’re shooting spherical and trying to get a wide aspect ratio, set your size and change Retime and Scaling to Fill. That will crop the top and bottom of your non-anamorphic footage into the set aspect ratio.

After dragging all the clips to the timeline, go into the Inspector and in the Transform section, Zoom parameter, disable the chainlink between X and Y. Now change X to your lens’ stretch factor. For me, it is 2x, but for you it could be anything. That leads to one: the image’s correct aspect, two: the sides are cropped out of my composition. That is exactly what I wanted.

The advantage of cropping the sides is that this gives you a lot of room for reframing in post by sliding the image left or right according to your needs.

If your entire workflow is through Resolve you can now edit, color and export! The final render will have the resolution set in the beginning.

That’s it for this week! If this video was helpful to you, like it and subscribe to the channel for even more anamorphic-related content. If you want to support my work even more, join us on Patreon and unlock awesome rewards. I’m Tito Ferradans and we’ll be back to reviews next week!


I’ve been working on producing/directing a horror short film for school. Of course it’ll be shot anamorphic. I’ll mate the LOMO Foton-A to the original Blackmagic Cinema Camera and shoot 2.5K RAW!

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Hello friends! Tito Ferradans here for a quick update. I’ve been super duper busy producing and directing a horror short film these past couple of weeks. I’m actually shooting it RIGHT NOW, as you watch this video. I’m attending film school again here in Canada – I have a bachelor’s degree from Brazil as cinematographer and editor – and this is our spring project.

It’s all gonna be done on the Blackmagic Cinema Camera (the original one), shooting 2.5K RAW. The interesting part is that I’m using the LOMO Foton-A to do so. This baby right here, combined with a 4×4 +0.8 diopter for extreme close ups. I’ll use Vid-Atlantic’s modded Sigma 18-35mm for my wide shots. The rig with the Foton is quite heavy and my operators will have a hard time because most of the short is handheld – yeah, I’m not directing and DPing this time.

Adding on to the challenge there is a CG truck in some shots, so I’ll be integrating 3D renders with anamorphic footage. I’ll say there’s a 90% chance you’re gonna watch it here around the end of April. 100% chance to watch it if you’re a patron. The 10% uncertainty is because if the film works out well we’ll send it to festivals and whatnot; then it can’t be released to the public just yet.

After this project is shot I’m picking up the pace and resuming the weekly episodes! Wish me luck, and I’ll see you again soon!

Dial down the radioactive blue flares from SLR Magic’s anamorphic adapters with these easy presets for Premiere and After Effects.


All the RED links on this post are part of eBay’s Partner Network, so if you purchase anything through them, you’re helping me to keep this project going.

You can support this project on Patreon. Make your contribution and help the Anamorphic Cookbook!

Tito Ferradans here for a post-production chop shop. As I mentioned in pretty much all SLR Magic reviews, their stuff is bright blue. Sony might contribute to that, when compared to Canon, as it was pointed in the comments of the previous video. Anyway, that is still too strong for most users.

We’re gonna take advantage of its supersaturation in post as a way to make a specific selection and dial it down. In After Effects I tweaked this Hue/Saturation effect to affect just the blue hue. Now I can adjust the flare almost independently from the rest of the shot. If I wanna make it less saturated, I’ll play with Saturation, Hue will make it more cyan or magenta and lightness will darken/brighten it.

The sliders on the hue bar up here determine the colors being affected, so if your flares are more towards magenta than blue, you can fine tune it up here. The vertical bars are hard stops and the tiny triangles are a smooth gradient, so it blends nicely around similar colors.

For Premiere, I made a preset based on the Lumetri Color effect and you can download it from the video description. It’s not as precise as the After Effects version, but it works if you’re too lazy to go into AE. The H, S and L sliders control the selection of the flare. As you adjust them, the video will turn into a matte image and the white areas are the ones being affected. Your goal is to restrict the white to the flares as much as you can. Down here you can use the Temperature, Tint and Saturation values to control the flare’s look. You can also use the color wheel to control its lightness and color, but that can go bad quite quickly.

Now the caveat: if your footage is blueish, this trick won’t work as the effects will pick up on that color and desaturate the whole thing. The hue adjustment requires precise white balance so it doesn’t affect anything else but the flare. This can happen quite frequently, so watch out for it. The other thing is blue elements in your shots can be affected too. Fixing these can be tricky and time consuming. Plain and simple, I wouldn’t recommend playing with the flares if you have strong blue lighting or important blue elements within the shot.

I hope this helps people out there who are unhappy about their flare situation and just want to nudge it towards a more specific tone. SLR Magic, you’re welcome. Hahahah. Just kidding. Don’t forget to download the presets from the video description and let me know how they work for you! If you want more unique tools for your anamorphic troubles, make a pledge on Patreon and you’ll have earlier access to things like this, besides other bonuses. Now don’t forget to subscribe and like this video! I’m Tito Ferradans and I’ll see you next week.

The SLR Magic Anamorphot 1.33x-40 has been around for a while, but with no detailed reviews yet. It’s time to solve this problem! This adapter is even better than its older, bigger brother, the Anamorphot 1.33x-50.


All the RED links on this post are part of eBay’s Partner Network, so if you purchase anything through them, you’re helping me to keep this project going.

You can support this project on Patreon. Make your contribution and help the Anamorphic Cookbook!

Hey everyone, I’m Tito Ferradans and today we’ll be talking about one of those lenses that spark curiosity but have very little information online. The SLR Magic Anamorphot 1.33x-40. Much like it’s bigger brother, the 1.33x-50, this Anamorphot is fun and easy to use. It is a single focus setup, as it comes attached to a budget Rangefinder, with no focus markings except “Near” and “Normal”. The distortion is quite pleasing and it stretches out to Cinemascope aspect ratio right out of the camera when shooting 16:9, due to its 1.33x aspect ratio. Flares are still super saturated, and there are lots of chromatic aberration when shooting around f/2.8 or faster. It doesn’t play super nice with longer lenses (85mm and up), especially in low light. Corners are messy all throughout, but you should’ve learned to not expect much from a 1.33x adapter anyway. My best pairing is by far the Canon EF 40mm pancake.

This Anamorphot feels like a shrunk version of the 1.33x-50. It has 52mm rear threads and a built-in locking mechanism that frees you from clamps. The front thread is 82mm, allowing for NDs, diopters and whatnot. It’s been out for quite a while but still there’s not one review online. Weird. SLR Magic discourages using taking lenses with front elements bigger than 40mm (hence the name!), as that will introduce vignetting and light loss.

One big advantage of this 1.33x adapter is the fact that it is single focus. Focus ranges from 1.2m (or 4ft) to infinity. All you have to do is focus your taking lens to infinity and attach the anamorphic to the front. The adapter weights 535g, has a solid metal build and it’s not too taxing on the taking lens to require additional support – as you don’t need clamps and diopters.

Price is standard on eBay, Adorama and B&H at $799 and I haven’t seen any of these being sold as used yet. I might be the first! There was a huge discount thing going on a few weeks back and it sold for $699 bundled with SLR Magic’s 50mm f/1.1, so you could’ve grabbed it for super cheap.

The previous Anamorphots were “double focus but not quite”, through the Near Normal dial, which required some tweaking with the taking lens. This is not the case here, with full single focus operation. They recommend shooting from f/2.8 and above, and it’s easy to see the difference when you go below that. I would say the sweet spot for this adapter is f/4.

Blue radioactive flares, no surprises here. Plus the added elements because of the Rangefinder. Not the finest performance for me, but if you really dig flares, this one is the way to go! Some taking lenses will make a vertical flare. It doesn’t show on the 40mm, but shows on other lenses I tried.

When it comes to sensor coverage, SLR Magic recommends using this lens with APS-C sized sensors, and says it will pair nicely with their CINE Series, both the 35mm f/1.4 and 50mm f/1.1. For MFT, they say 25mm works. For Full Frame, I was still able to get a clear shot at 40mm, using Canon’s pancake.

I don’t see this as a step back from the Anamorphot 1.33x-50, but a step up! I was able to go much wider with built-in single focus. Full frame performance is not top notch, but many of SLR Magic’s lens choices are geared towards smaller sensors and with the GH family around, I understand and respect that. I think this is an attempt to reel in more serious shooters because of single focus and all of the anamorphic character. I think it’s strange that this thing has no reviews out yet, since it’s actually better than the Anamorphot 1.33x-50. Are you getting one? What did you think of it?

I already talked about most of SLR Magic’s anamorphic stuff, and you can find it all in this playlist.

If you’re still around, I would recommend subscribing as anamorphic is what I’m all about. On top of that, like this video and help out by sharing it with your peers! If you want to further support this research and experiments, join us on Patreon to chat with me and a few others, get anamorphic rewards and decide the fate of this channel! Ferradans, out.

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