Red Helios.

A few weeks ago I was inspired by a facebook post to experiment heavily modding one of my Helios 44-2 lenses. The entire process took me less than an afternoon and I think the results are pretty unique. I’m working on a tutorial for it, and depending on the price of the Helios, the total won’t get even to $50, including all the materials. This is a cheap way to get a unique (and extreme) look to the footage coming straight from camera.

Shooting with this lens is addictive because I never fully know how it’s gonna behave, and everything looks surreal and dreamy. I’m working on a second one, purple this time.

Double post? Not really, since the previous one didn’t cover any of the technical aspects of the shooting and I’m pretty sure – based on my A7s2 post – that there are many people interested. First of all, VOTE FOR US HERE!

Shooting this teaser was my first experience with the A7s2 and sLog-3. Also my first shoot with SLR Magic’s VariND Mk II, and some anamorphics to be the cherry on top. I wanted to keep the shutter speed constant at 1/50 and we had plenty of daylight/exterior shots, including sunset and sunrise. I had the ND on for both of these, and almost at the maximum setting, due to sLog-3′s minimum ISO of 1600. On the bright side – pun intended – of having too much light, this allowed me to stop down my taking lenses to f/4 and get reasonable depth of field even in the most extreme shots, such as the exterior night ones, without ANY lighting but the city’s.

For stupidity reasons (I forgot the proper step rings at home), I shot most of the teaser on the Jupiter 9 (85mm f/2). Looking at the footage in post, it was waaaay shakier than I remembered on set – I was doing it all handheld, again for stupid reasons, and it weighted quite a bit – and the anamorphic had a misalignment wobble to it. Upon later inspection I learned that my M42-EF adapters are all too lose on the Metabones for the A7s2, but that was too late. In order to solve both the wobbliness and all the camera shake, to get the smooth shots you see in the teaser I resorted to After Effect’s Warp Stabilizer. I hadn’t used it in forever, and had some troubled memories of previous experiences. It seems they upgraded the tool, since I was able to achieve positive results and not even need to crop in more than 5%. Since we shot it all in 4k and downscaled to 1080p, I believe the extra resolution might’ve helped with things such as “Synthesize Edges”, another thing is that the shots were shaky but they didn’t have a lot of motion in them (like pans, tilts and stuff), nor busy backgrounds (lots of tiny moving things like traffic or people).

The Rectilux behaved as expected, with sharp results and allowing me to do close focus shots without a hitch. Even though the front rotates – which is a problem for the VariND – all our rack focuses were so subtle that the polarizing effect went unnoticed. I didn’t tape the Jupiter 9, so the focus ring kept moving between shots and that got me a little annoyed for I always had to re-check focus for everything. The wide shots of the patio – and the crew – were cheated with Canon’s EF 17-40mm f/4. We used the grid lines in the camera to have a good idea of how the final framing would be (2.35:1), and then switched back to the 4:3 grid for, again, a rough idea of the final anamorphic framing.

When I got the two hours of footage down to the maximum duration of one minute it was time for color correction in After Effects. This is when I saw the sLog footage shine and was really impressed by how clean the images were. Some of the shots had ISO 12800 and after a little bit of denoising they were all good and clean! I did the color correction using Magic Bullet’s Colorista III and MB Looks, which are easy to play with and give great results. I added a some specific Hue changes here and there too, as well as some glow and sharpening for final touches and voilá!

The New Romantics.

Last weekend was epic. About a month ago, Storyhive announced their webseries competition (is that the right word?) was open, and the deadline is tomorrow. The first stage is to deliver a one-minute pitch video for a show along with a bunch of other documents and concepts, proving that you sort of know what you’re doing and that you’ll deliver them something. From all the pitches, Storyhive gives a $10k grant for fifteen projects in British Columbia and fifteen more in Alberta. A few days after the contest was announced, Kelly – from my film classes at Langara – invited me to a meeting with the people she was putting together as a team for this. That’s how I got to meet Sasha – our producer and co-writer -, Nisha – co-writer and art designer – and Jesse – co-writer and art designer as well. Kelly herself was doubling as co-writer and director. I was coming in as cinematographer and, for the time being, editor. On the same day I brought Gonzalo aboard as our sound person.

Our goal: write, cast and shoot a unique teaser that (as the rest of the team) doubles as pitch video by introducing our characters, the crew and the concept for the show. A show in which Vancouver plays itself and we follow the lives of four young people – Clinton, Wallace, Molly and Jackson. I’m not gonna try to explain it by myself, so I’ll just quote the writers (as they’re more numerous and experienced than me) with the plotline: “A post-modern comedy following four friends through heartbreaks, hangovers and (happy) endings in No-Fun City”. If you’re not from Vancouver or didn’t get the No-Fun-City reference, here’s your chance.

One week after that meeting we had a first version of the script with a bunch of locations all around the city. There was also casting and location scouting (which was the moment when I realized the power of sun surveyor apps, but that’s another post). Out of casting the characters came to life through Michela, Brad and Angie… and Nisha (yep, one of the writers!). Shooting was scheduled for the weekend (April 2nd and 3rd). The weather forecast kept messing with us, saying stuff like “cloudy” or “rain” when what we needed the most was clear weather, particularly during the sunset. I was worried to the point that I kept annoying Sasha to switch the scenes from one day to the other because of the sun – and I’m deeply grateful because she did it for our most important scene and the rest worked out perfectly. Meghan, our costume designer, also came aboard during this pre-production time, making the characters look amazing.

It had been the longest time since I’d been on set with a real team – where people do their work and collaborate to improve everyone else’s. It was a truly great experience, resulting in some of what I believe to be my best work. Everyone in the team was amazing, fun not only to work with, but to chat during our long breaks (it felt like a 36-hour shoot with two 5 hour naps in between and a few resting moments while driving to and from location). I mean, we got sunset, sunrise, beach, park, downtown, daylight and night scenes, natural and artificial lighting, improv and scripted, indoors and outdoors, it really feels like something that couldn’t be shot in a single weekend!

After shooting, I edited our pitch in two days and then spent another half day sitting down with Kelly and refining it to perfection. After that Gonz worked on the sound and I got the time to jump in full-on in post-processing: stabilizing, retiming, compositing and grading. That made a world of difference and it was the moment I was able to clearly see that the A7s II was a real upgrade from the 5D3. Our teaser comes out on the 18th and I’m gonna need all your help with voting and sharing it to make sure we’re the most popular project in that competition!

I wanted to enthusiastically thank the people involved, all of you. It was both an honor and a pleasure to work with such dedicated and talented artists. If we win, I know shooting the pilot will be a blast, so bring it on, Storyhive!

Since I bought the camera, I’ve had lots of people asking me various things about it. For the first couple of weeks, all I managed to do was shoot stills of my cat and roam pointlessly through the menus. Being a Canon user ever since I started photography (aka 2008), switching systems was a bit challenging since buttons change place, menus are divided differently. The whole “going mirrorless” thing was also a drastic change since the camera HAS TO BE ON in order to see anything. On the bright side, powering up is lightning fast (that coming from a MagicLantern adept, used to extra loading times for modules and LiveView), and being able to record video looking through the viewfinder instead of the LCD screen is also a nice feature, since it provides a lot more of stability.

I spent the entire first day just messing around the menus. They go several layers deep and getting the right settings can be tricky. One of my best sources of reliable information regarding these settings was a seminar by Philip Bloom, which is actually for the A7s I, but most of it applies to the A7s II. There a few differences between both models, and I think they are 1600 ISO as the minimum for shooting S-log, instead of 3200. There’s also the 5-axis stabilization that wasn’t present in the Mk I, and S-log3 in addition to S-log2 – which is even less contrasty.

On the downsides, I still haven’t learned to expose stills properly. Most of my raws come out extremely underexposed. The safest way to do so is trust the histogram instead of what you’re seeing on the screen (any of the screens). Opposed to that, bringing these very same underexposed raws into Lightroom gives you a hell more wiggle room than Canon ever gave. You can pump up the exposure almost up three stops and still be free of weird noise. Speaking of noise, low-light performance was the key aspect for me to choose this camera. Being able to push the ISO high and don’t worry about noise is something I started to get used with the Canon 5D3, pushing ISO 1250 and not worrying too much. On the A7s II, I’m pushing ISO 12800 and getting clear images. Also, the noise cleans up very nicely in post.

Underexposed still brought back to life!

More cool stuff: customizable buttons. LOTS of them. With plenty of functions to assign. I’ve set mine close enough to my Canon settings but I still struggle with a few settings I have to tweak when shooting (like the previously mentioned stabilization) and other functions I didn’t have in the 5D3. Among the functions I didn’t have in the 5D3, the A7s II offers Zebras and Focus Peaking right out of the box. The Zebras work flawlessly, but I’m still getting used to the Focus Peaking (it’s not as efficient as MagicLantern’s).

Now frame rates and crop factor! 4k internal is awesome. I’m not a fan of 4k itself, but for downscaling and stuff like that, it’s amazing. The camera also offers an APS-C crop mode, which punches 1.6x into the sensor, for a S35 area recorded to HD resolution. That’s pretty awesome since it allows us to use S35 lenses on a full frame camera (and kills the need for a smaller sensor camera as a B-cam). You can also shoot 120fps in 1080p, but that punches a 2.2x crop. For that reason I got a Metabones Speedbooster from EF to E mount, which brings the crop down to APS-C when shooting 120fps.

The image stabilization is pretty awesome, especially for people like me that don’t shoot using modern lenses, just vintage glass. It works by moving the sensor according to your hand movement. If the lens has electronic contacts, the camera knows its focal length and everything is fine, but using non-electronic lenses is also supported, you just need to manually set the focal length so the stabilization is done properly.

Shooting S-log is amazing, but it takes a lot of NDs and stopping down the lenses for a correctly exposed shot during daytime. I had SLR Magic’s VariND on at the maximum strength while shooting both at sunset and sunrise well after the sun was up and before it was up. The low noise level also helps for stopping down the lenses when shooting at night, fighting off that common issue of razor thin depth of field because the only way to expose the shot is at f/1.2.

A thing that really bothers me is that neither screen is sharp when you hit the magnification button to check focus. On Canon’s you undoubtedly know when focus is right, but on Sony there is a lot of back and forth before settling on a focus distance. This issue is countered by the ability of magnifying during recording (something Canon doesn’t allow), so I constantly hit it up in the middle of a moving shot, just to be sure focus is right.

The size of the camera is another thing that’s drastically different from the 5D3. Much lighter and smaller, it felt a little TOO small for the first few days and my hand started to hurt after using it for a while. Now I’m more used to it, but reaching the buttons sometimes requires finger gymnastics during the shots. Battery life is much shorter than Canon too. The camera comes with 2 batteries already, and I ordered another three right out the bat because they drain very very quickly with constant use. To handle this I kept switching the camera off and on again right before shooting.

One thing that I saw no mention anywhere before experiencing on set is the fact that the camera’s screens turn black when you try to record internal 4k while outputting to an external monitor. Everything works fine until you press REC. When you do it the screen turns black and you only get the video feed in the external monitor. If you switch the resolution down to HD, the screens behave normally, but that forced us to jump through a few hoops on set.

I haven’t had any issues with the 8-bit log files (they graded wonderfully so far) and the amount of space I’m saving, as opposed to shooting raw on the 5D3, is a blessing. Not to mention the super simple workflow, with no concerns with drop frames, decompressing, debayering, taking forever to render in After Effects, filling cards in a heartbeat, all those obstacles. I had many times when I avoided shooting something on the 5D3 because H264 wouldn’t give me enough quality, and shooting raw would be overkill. On the A7s II is quite the opposite: since I know how to expose for video, sometimes I just shoot a few seconds to make sure I’m getting the picture.

That’s a framegrab

I am still learning how to expose for stills. Maybe I need to shoot in a Picture Profile that ISN’T S-log, maybe it’s just a transition between systems. One thing is certain: even when I expose correctly, Sony’s colors in post aren’t as pretty as Canon’s. And I really miss the ability to stretch the LCD image when shooting anamorphic (farewell, MagicLantern, I’ll both miss you and support you forever).

Upcoming, 2016.


Good morning/good evening, ladies and gents. Today I’m not here to talk about any specific piece of gear but to hypnotize you with what I’ve been quietly working on. First off, I’d like to point out this awesome and unique t-shirt I’m wearing, that I designed and printed by myself and that you can order to support the Anamorphic Cookbook, but mainly to look super cool among your spherical-shooting pals. Head on to the store page through this link and the rest is easy, the shirts are $25, shipping included, all through paypal quick and easy!

Now that that’s out, you SHOULD have noticed the classy intro sequence for this video, which will be opening all videos from now on. It was a pain to shoot, and an even bigger pain to edit. Not having a macro lens around made it impossible to the point that I had to go and get myself a Pentax 50mm macro. The whole thing was done using Rob’s Kinemini 4k camera, shooting at 120 fps and 2k (2.4:1), Kineraw encoded. The camera itself was the easiest part to handle, getting these tiny things in focus was the painful part. Editing half a terabyte of slow-mo footage into 10 pretty seconds was also quite a challenge.

I hope the subjects in this video don’t seem totally disconnected, even though they kind of are. If you don’t follow my blog, just the youtube channel, you’re missing out on the awesome Anamorphic Calculator. After replying to hundreds, THOUSANDS of times to people asking me which taking lens goes with each anamorphic, I took the matter seriously and came up with this multi-function calculator that tells you when you should start to get vignetting according to your camera sensor, taking lens, anamorphic adapter and focal reducer. I think I covered all available options out there, and the custom fields let you input whichever numbers you like, in case you don’t find the ones you want. The calculator also tells you the resulting horizontal field of view and the aspect ratio of your final product. You can reverse some of these operations to figure out which taking lens will give you a specific field of view or which crop will get you a desired final aspect ratio.

I am aware there are exceptions and, just as I said in the calculator’s post, once you figure out the anamorphic you want you should conduct specific research about it. By “conduct specific research” I don’t mean “send me a message”. From now on I’ll stop replying to blunt messages about gear like “where can I find diopters for my Kowa?” or “does the Rangefinder work with the Cinelux?”. I’m also a person, so, maybe start with a “Hi” or “Hello, how are you doing?”, including a “please?” somewhere in the message is also a good idea. If you’re gonna contact me, first be 100% sure that your answers can’t be found in any of my posts. Replying to these messages eats up too much of the time I could be focusing on much more productive research. If you feel lost and abandoned, feel free to let out your doubts and questions on facebook or the EOSHD forum. There are plenty of experienced anamorphic users there (myself included), capable of providing you with answers. If you feel I am the ONLY person capable of resolving your issue, go ahead and send me a message, but be aware I might not reply. The bright side of this is the number of new in-depth posts and the progress on the Anamorphic Cookbook should increase.

Speaking of the Cookbook, this is my second take at an anamorphic guide of sorts. The first one (Anamorphic on a Budget) was a good start, but there are MANY subjects that were left out because I lacked the experience, or simply because I wasn’t aware they existed. Now I’m gonna try to cover a lot more ground. The Cookbook is meant to have deeper analyses and conclusions, being useful to any anamorphic enthusiast and even to anyone considering learning more about these lenses. I’m going deeper into the whole diopter party, how taking lenses affect the resulting image, how to fake the look in more effective ways and many other important points (if you wanna check a more detailed overview of my goals, check this link).

This kind of research requires gear I don’t currently have, which implies there will be expenses. Because of that, I’ll be putting the Anamorphic Cookbook on Kickstarter. You can get yours there, for a lower price than it will be available when it comes out officially. You can also use this chance to get yourself some other useful trinkets such as this amazing shirt, anamorfaked Helios lenses, aperture disks and even skype calls for advice in a particular project. Keep in mind that whatever amount raised there is crucial for the research and tests featured on the book. You are literally helping me to keep going and speeding up the process. If you wanna be notified whenever there’s a new post or update regarding the project, send a message to

Lastly, I’m starting to sell some of my gear. Both of my Isco Wide-Screen 2000s shall go, along with the small Century Optics, Isco-Optic 16:9 Video Attachment and some more. These are all listed in a separate part of my website and the goal is to avoid eBay’s taxes and bidding wars. Most of the money coming from these sales is gonna be directed towards the Cookbook, so, besides getting an awesome piece of gear, you’re funding more upcoming content. The list is gonna be constantly updated as items come and go, so be sure to check it every once in a while!

Phew, that’s it for this video. Subscribe to the channel for getting updates as soon as I upload new episodes and be sure to check all the cool new things mentioned here!


Welcome to the last episode in this post-processing chop shop streak. Today I’ll explain how to fix anamorphic mumps using Photoshop’s Spherize filter.

Mumps are that weird looking stretch that you get sometimes, when some parts of the frame look overstretched – mainly the center – and the edges still look compressed. You don’t necessarily have both things at the same time, it’s usually one or the other. Back in the first days of anamorphic in Hollywood, many actors and actresses included clauses against anamorphic lenses in their contracts for these lenses rendered unflattering images of themselves because of mumps! If you wanna know more about the subject, check Chapter IIIC of the Anamorphic on a Budget. This bizarre effect is due to the cylindrical glass of the anamorphics which isn’t even across its width, resulting in an uneven stretch across the frame.

Here’s a shot with a case of mumps and here’s the same shot, fixed. So let’s get to work. Start by firing up Photoshop and bringing in your messed up frame. Now go to “Filters”, “Distort”, “Spherize”.

On Spherize’s pop-up window, you can distort things. The default mode will make you worry if this filter is actually any good, but when you change it to Horizontal, you’ll see its power. You can go with either positive or negative values. Positive will grow the image from the center, which is the opposite of what we want, and negative numbers will pinch the image towards the center, making the edges more stretched and compressing the center – the most important part here is that it doesn’t change the width of the file. This process involves a lot of guessing if you don’t have a reference, like a circular object in the center of the frame. The good thing is, even if you guess wrong, it’ll still look better than the original! When you’re done just press “OK”.

Save your fixed frame. Yay! Now repeat the process for the next five hundred frames in this shot! Sounds painful, right?

On the next few minutes I’ll explain how to convert a video file into an image sequence using Premiere, then we’ll record a Photoshop action, run the action on a batch of images automatically and re-import them back into Premiere.

In Premiere, create a New Sequence using your shot and then export it by either going through the menus “File”, “Export”, “Media” or pressing Ctrl + M. On the Export window we’re gonna change the encoding settings to an image sequence. On “Format” you can go with Targa or PNGs for no or little loss of information but rather big files, or just JPEGs for lighter files and heavier compression. Since this video is going to YouTube, I’ll go with JPEGs, but if it were 4k for a feature film, I’d choose a lossless format such as Targa.

Choose the destination of the rendered files and hit “Export”. Let it process.

Back in Photoshop, open the Actions menu – “Window”, “Actions” -, create a new action – I’ll name it “Fix Mumps” – and set it to Record by pressing the small red circle. Now open your first frame, apply the Spherize filter – tweak the settings until it looks right -, save the file in a new folder – mine is the shot name + fixed – and close the image. Hit Stop to finish recording the action.

Now on the “File” menu, go down to “Automate” and then “Batch”. On the Batch window, select “Fix Mumps” from the “Action” dropdown, leave the “Source” as Folder and click “Choose…” to navigate to the destination you exported your frames. Check the “Override Action ‘Open’ Commands” and “Suppress File Open Dialogs” so you don’t have to click something every time you open an image. Now on the “Destination” side, it’s also a Folder, and you get to choose it. I’ll use the same folder I just created, with the shot name + fixed. Tick “Override Action ‘Save As’ Commands”. For the file naming section, in the first line, set it to “None”, name the shot, second line, just for organization matters, “None” again and I’ll add a _fixed_ suffix. Then, on the third line, from the dropdown pick 4 Digit Serial Number, then input your starting serial number down there, in case it starts at a value different than 1. On the fourth line, add the extension.

. Click “Ok” and let your computer think for a little while. Photoshop is gonna flicker a little bit while it runs the process on all the frames and saves them to a new destination.

After that’s done, we’re back on Premiere: in the Import window, go to the folder with the new frames and select the first one, then check the box that says “Image Sequence” and hit “Ok” and that’s done! If it has a weird frame rate, right click on it at the Media Bin, go to “Modify”, “Interpret Footage” and input your frame rate manually.

Ok, that ran a little longer than I planned for. Again, I hope this is a useful tool now added to your skill set. Subscribe to the channel for new videos and check my blog for all the cool anamorphic content. I’m Tito Ferradans and I’ll see you soon! BUY THE SHIRT!


I’ve come to realize I haven’t been posting anything about life lately, just anamorphics and and technical things. Time to fix that!

Langara has gotten less worrying than it was in the beginning and we’re heading towards the end of the first semester. – I wrote this sentence a week and a half ago and I couldn’t have been more wrong. These last few days have been an overload of essays and research and editing at full speed. Anyway, it’s the end of my first semester and I’m not taking any classes during the summer. It’s time to hunt for work and shoot lots an lots of amazing footage. I’m not yet 100% sure of how I’m going to achieve that, but it will happen.

The end of Winter and start of Spring were incredibly (and unpleasantly) rainy. It rained almost every day. When a day started out sunny and warm, I decided to take the bike outside. At my furthest point away from home, rain would start and soak me to my soul. Even waterproof clothes weren’t enough and I had to wash my waterproof shoes (see the contradiction there?) at least two times and dry them on the heating system for a minimum of two times per week. Truly annoying stuff.

On the less annoying side, I replaced the chainring on the bike, making it harder to ride. It actually just made it better, since the original chainring already felt too light for flat stretches of road. I struggle a little more while going uphill, but I’m much faster going down and straight. This is also good because it encourages me to explore different paths, trying as hard as possible to avoid steep hills. It’s an unusual way to explore the neighborhood, I admit, but it’s very efficient, and riding is so much fun that I don’t even bother with the rain while it pours down my face. The post-biking stage is when the complaining starts.

Enough of rain and back to Langara: we’re shooting some short films in one of my classes. I didn’t expect this at all when I enrolled and I’ve been having a blast with it. Being on set is an amazing feeling that I had been away for too long. We shoot a short per week, in a 3-hour interval, and every week I realize something I needed and forgot. This led me to buy lots of tape, clothespins, a foldable knife and a decent box-cutter, a voltmeter, zip ties, spare lamps, pins to threads adapters, rope, an extra dimmer and a couple adapters for connecting several lamps to one outlet. Thankfully none of these items costed more than $5. Now I have a box in my closet full of electricity and gaffer stuff, something I promised myself I’d never have back in Brazil (but that I also had, even in greater volume).

Being on set so constantly switched back on my cinematographer side and I’ve been studying cameras, lenses and stabilizers a lot more recently. I’m putting together all the stuff I need to sell, organizing what I’m selling here and what I’m keeping to sell back home. The goal is to reduce the overall gear count. Later on I’ll start planning about optics and start considering upgrading my lens kit (which hasn’t changed much over the last few years and it’s not that amazing).

I’ve also been shooting many things for YouTube and bringing up the complexity level, so they take longer to be completely done. This ties into another thing I was observing recently, which is an unhealthy habit of cramming too many challenges at the same time into one single project and having nightmares both in pre and post-production because I’m still learning how to sort out either the files created in the process or a different software package I decided to experiment with, or something weirder. Realizing this has allowed to drop some of the major issues that came up due to unnecessary experiments. It’s a moment of clarity that happens in which I think “which one of these two clashing things is more important for this project? Is it the lighting or a shady camera setting? Is it the new software and processing or the camera and resolution?

ALSO, we got a cat! His name is Finnegan and his the cutest, sweetest and craziest cat ever. At first he was scared of everything and everyone, but now he’s quite familiar with us and the house. I think he’ll start appearing in some of my test videos soon enough so you get to meet him in motion, not just in pictures like this one.

It was weird writing this post. Deal with it.

Modern cinema follows a strict set of rules, a long preestablished language composed of conventions and agreements employed and accepted respectively by both the filmmakers and the audience. For example, when we see a close up of a character’s face followed by another close up of his or her hands tightly clasped, we understand that character is trying to hide emotions from another character who is looking at them, but he or she can’t hide it from the filmmaker’s gaze. We do not think that the first close up is a body-less head, nor that the second is a pair of chopped hands, but creating this meaning for the audience – that these shots were clues given by the filmmaker on the inner workings of said character by showing contrasting emotions expressed through their bodies – was something that took years to perfect. The same way these conventions are valid for the images (framing, lighting, movement), sound also has its own language. The first movies had no sound the same way that the first recordings had no images; these were separate mediums and their merging is what truly represents cinema. With the passing of time, filmmakers’ use of sound evolved into different meanings other than plainly representing what is being shown on screen. Sound can heighten or even completely inverse our perception of images. If a movie’s sound just portrays the obvious, its filmmaker is missing out on great opportunities to add depth and meaning to the story.

Cinema can’t exist without images – that’s obvious – the same way it can’t exist without sound. At first this might sound a little daunting since, for a long time, films were silent. Silent, yes, but not completely devoid of sound. Michel Chion is a French music composer and professor of audio-visual relationships at the University of Paris. He is a theoretician that thinks very closely to Walter Murch’s ideas (Chion dedicated his book Film, a Sound Art to Murch and Murch wrote the preface for the translation of Chion’s Audio-Vision); Chion states that “the suggestion of sound was in the air at the time. . . . In the silent cinema, instead of sound for sound, spectators were given an image for a sound: the image of a bell suggests the sound of a bell” (Film, a Sound Art, 5), and even the exaggerated gestures meant to translate as what the characters were saying so the audience could follow along and not assume all characters are communicating telepathically. In the very early ages, films such as Edwin S. Porter’s would have a commentator by the screen, narrating what was going on. Later on, this person was replaced by intertitle cards that would directly represent dialogue and bind together what would seem disconnected sequences. Even though we call them silent films, the silence of a movie theater has always been filled with music, at first any music would do, then there was music composed to be played specifically with the movie, and after that, there would be a kind of sound effect layer added to certain elements on the screen that could be represented by musical instruments for example cannon fire cued a drum in the theatre (Film, a Sound Art, “When Film was Deaf”).

Seeing this fundamental connection, several people tried to blend both things. Thomas Edison had both moving-picture and sound apparatuses by the end of the 17th century. The Phonograph was a device that could reproduce sounds recorded on a wax cylinder. The Kinetograph was Edison’s moving-picture camera and it came associated with the Kinetoscope, a one-man booth where the user could watch a short clip projected in a loop. The main person behind the Kinetoscope research and development was William Kennedy Laurie Dickinson, one of Edison’s employees. The first record of sound and image recorded together is Dickinson Experimental Sound Film: a clip, shorter than 20 seconds, of a man playing a violin in front of a recording Phonograph while two other men dance in front of the camera. These two elements (image and sound) were not synchronized until recently, by no one less than Walter Murch. “It was very moving, when the sound finally fell into synch: the scratchiness of the image and the sound dissolved away and you felt the immediate presence of these young men playing around with a fast-emerging technology.” (Murch,

The main difference between the results achieved by Murch and what the audience saw and heard at the Kinetophones (the resulting mix of the Kinetoscope and the Phonograph) back in the early 1900s was that the Kinetophones had no synchronizing mechanism. The images would play on their own, and so would sound, each of them from a different platform, so getting the starting point to match precisely was nearly, if not completely, impossible. It wouldn’t be for another two decades until synch could be completely achieved, by Lee De Forest, an American inventor who managed to record sound on an optical track directly on film. All previous attempts relied on having separate devices – film for the image and discs, cylinders or tubes for the sound – and the main problem hinged on starting at the same time and remaining in sync for the duration of the show. The transition from silent films into talking pictures is wonderfully depicted in Singing in the Rain, a 1952 film directed by Stanley Donen and Gene Kelly. In one of the scenes, the cast and crew is watching the premiere of the film along with the audience and we get plenty of examples of all the awkwardness that was introduced by having synchronized sound, including one of the most memorable examples of how out-of-sync sound and image might change completely the meaning of a scene.

Live-recorded sound didn’t have its place secured under the sun until late 1927, with the release of The Jazz Singer. Until then, talking pictures were still considered a fad and expected to bore the audience soon enough. The difference between other sound films and The Jazz Singer is that the latter had not only music accompanying the film, but also two very brief excerpts of live-recorded audio in sync with the film. That drove audiences wild and the movie’s box-office through the roof. From that moment on, for purely economic reasons, talking pictures were here to stay. The Warner Bros hit was sounded with the use of the Vitaphone – which was still a dual system: the sound played from a disc, not straight from the film. According to Michel Chion, the main problem that came with the definitive establishment of sound in movies is “the Vitaphone process was perceived . . . as an improvement, not a revolution” (Film, A Sound Art, 34). The audience’s approval of spoken lines was also a trap for films since speech prevailed as the main element of sound in films for good fifteen years, from 1935 to 1950, as presented by Chion, either through dialogue or voice overs. Filmmakers chose to make films verbocentric as that was the easiest way to please the audience and the producers at the same time, which led to having the sound design aspect of movies not as developed as, for example, the visual aspect (Film, a Sound Art, 73).

From 1927 onwards, the technological aspect of sound recording and playback as well as techniques for capturing, editing and mixing it improved vastly to what we hear at the theatres today. What didn’t change so much was the filmmakers and studios’ perception that

“Sound has an “added value, . . ., [an] expressive and informative value with which a sound enriches a given image so as to create the definite impression, . . . that this information or expression ‘naturally’ comes from what is seen, and is already contained in the image itself. Added value is what gives the (eminently incorrect) impression that sound is unnecessary, that sound merely duplicates a meaning which in reality it brings about, either all on its own or by discrepancies between it and the image.

The phenomenon of added value is especially at work in the case of sound/image synchronism, via the principle of synchresis” (Chion, Audio-Vision, 5)

Synchresis is Chion’s concept of connecting the words “synchronization” and “synthesis”, it is the thought process that binds together an image and a sound which are perceived at the same time (Audio-Vision, 63). For example, if we see a gun firing and we hear the sound of a whistle, we automatically bind these two together without as much as questioning how they are connected. “Synchresis is what makes dubbing, postsynchronization, and sound-effects mixing possible” (63) and this is the ultimate tool to re-signify the role of sound.

In his book about editing, In The Blink of an Eye, Murch talks about the difference between good and bad sound mixes, but his words also apply to the general use of sound: “[i]t depends on . . . how capable the blend of those sounds was of exciting emotions hidden in the hearts of the audience. . . Past a certain point, the more effort you put into wealth of detail, the more you encourage the audience to become spectators rather than participants” (15). When the audience becomes spectators, they stop thinking about the sound’s meanings and take it as a very detailed representation of what their eyes are absorbing, with no unique storytelling features but an empty attempt at immersion (Magalhães, 10). A few examples of this concept of excessive sounds are most action blockbuster released in the past few years, namely, any of Michael Bay’s Transformers movies: our ears are filled with small gears and engines and switching and pumping and nuts bolts to add realism to ludicrous robots, but in the end seeing those sequences without sound would not change the story even a little bit.

Back in 1929, René Clair – a French movie critic – raised the point that “[t]he visual world at the birth of the cinema seemed to hold immeasurably richer promise. . . . However, if imitation of real noises seems limited and disappointing, it is possible that an interpretation of noises may have more of a future in it” (93).  It is quite worrisome that this is almost the same issue brought up by Chion in 1994: “[r]evaluating the role of sound in film history and according it its true importance is not purely a critical or historical enterprise. The future of the cinema is at stake. It can be better and livelier if it can learn something valuable from its own past” (Audio-Vision, 142). The challenges are not dictated by technological limitations as they were in the beginning of the 20th century, the challenge now is how to not succumb to the common pitfall of using sound as a mere echo of the image or focusing exclusively on dialogue to explain every event that could have been explained differently. Fortunately there’s hope: the number of movies (or TV shows) where sound plays a role as important as image has been growing and it’s not hard to come up with a few names such as Barton Fink, No Country for Old Men, Breaking Bad, Apocalypse Now and The Conversation. An increasing title count does not solve the matter, though. In order to reduce this gap between sound and image, the teaching of how to make films has to go through some changes, from scriptwriting to directing, from shooting to editing, sound can’t be something that is just used to fill any awkward silence. Proper sound, with meaning, has to be planned and conceived from the earliest stages of a film.


Works cited

Chion, Michel. “Audio-Vision: Sound on Screen”. New York: Columbia University Press, 1994. Print

Chion, Michel. “Film, a Sound Art”. New York: Columbia University Press, 2009. Print.

Clair, René. “The Art of Sound.” (1929) Film Sound: Theory and Practice. Ed. Elisabeth Weis, John Belton. New York: Columbia University Press, 1985. 92-95. Print.

Dickinson Experimental Sound Film. Dir. William Dickinson. Edison Manufacturing Company. 1895. Web. 13 Mar 2016

Magalhães, Mayara. “O Som Escrito”. São Paulo: Universidade de São Paulo, 2014. Web. 13 Mar 2016.

Murch, Walter. “Dickson Experimental Sound Film 1895”. (2000). Web. 19 Mar 2016

Murch, Walter. “In the Blink of an Eye”. 2nd Ed. Los Angeles: Silman-James Press, 2001. Print.

Singing in the Rain. Dir. Gene Kelly and Stanley Donen. Perf. Gene Kelly, Donald O’Connor and Debbie Reynolds. MGM. 1952. Film.


Tito Ferradans here for another post-processing Chop Shop. I received some questions about cropping in post – which is a necessary tool if your camera only shoots 16:9 and you want full control over your final aspect ratio. I’ll go over After Effects and Premiere, which are the ones I use on my daily life, but I’m pretty sure the idea translates over to any other editing/compositing software.

Building up on the previous video (aspect ratio), load up After Effects, import your footage and apply the proper stretch – check the tutorial if you’re not sure how to do that. Then create your composition with the desired aspect ratio – to find the proper height, divide the horizontal resolution by the aspect ratio.

Now drag the footage over to the composition, right click its layer and select “Fit to Comp Height” and voila! The coolest thing about this method is you can use the horizontal position attribute and keyframes to create digital pans and adjust the framing as you please!

In Premiere, the process is quite similar but with a few more steps. Import your footage, apply the stretch and then drag it to a new sequence. Now right click the sequence on the Project tab and select “Sequence Settings”. Here you’ll change both the height based on your project’s output. As I’m doing HD, I’ll just input 1920 by 800. Now the clip is too tall, so right click on it in the sequence and select “Set to Frame Size”. That will adjust the dimension of the clip so it fits properly, now move back to the Project tab and right click on the Sequence again, since it’s still super wide. On the Pixel Aspect Ratio dropdown, select Square Pixels (1.0).

You can do the digital pan in Premiere too, but it’s a less friendly process. On the Effects tab, under Motion, adjust the horizontal position to the initial point, create a keyframe by clicking on the little stopwatch, then move on the timeline to the point when you want the pan to end, and adjust the horizontal position to its final… position and Premiere automatically creates a keyframe there.

There you go, a few simple steps to control your final aspect ratio. I hope you found this tutorial useful, let me know what you think in the comments section. Subscribe to the channel for the upcoming videos and head on to the blog for the Anamorphic on a Budget guide and lots of cool stuff such as the Anamorphic Calculator and the pitch for the Anamorphic Cookbook! I also have an awesome t-shirt in the works, so grab yours now before the stock runs out. Ferradans out.


Tito Ferradans checking in, how’s it going, anamorphic buddies? Here the Fall/Winter season continues, so today we have another post-processing chop shop. This is one of the most common questions I see around the web, from people who are just starting into this distorted reality that we love. “How do I stretch the footage properly?”. Well, there are several different methods. I’m gonna cover Premiere, After Effects, Photoshop, Final Cut Pro X – even though I hate it.

First, WHY do we need to stretch the footage? Well, the visual answer is pretty easy: “because things don’t look as they should”. Ok, and why is that? Because the anamorphic glass compresses the horizontal axis while keeping the vertical untouched. Good, so how much is that compression? The lens usually says and the most common values are 1.33x, 1.5x and 2x. There are a few odd 1.75x and other numbers out there, but once you get how to do it, the stretch doesn’t matter much. So now we know that the image is compressed by 1.33x, 1.5x or 2x in the horizontal axis.

Let’s trail off a bit. A pixel is the smallest area of an image, a tiny square with a unique color value. You noticed I used the word “square” just now, right? Nowadays most imaging resources (cameras and monitors) use a square ratio for resolution, which means that if you divide its height by width (or vice versa) you’ll get 1 as the result. Back in the DV era, cameras played with this ratio. 4:3 footage had a 0.9 pixel aspect ratio, while widescreen (16:9) had a 1.21 pixel aspect ratio. The sensor size never changed, neither did the recorded image, but the pixel aspect ratio told the editing program to stretch or compress the HORIZONTAL axis by that value. Hmm, this is becoming kind of useful, isn’t it?

Now we know that one can change a pixel’s aspect ratio, making all of them shorter or longer, according to a specific value, than the recorded image. Well, it seems this is what we need with all that stretch-factor thing.

Starting with Premiere, import your footage and then right click on the file here in the Media Bin. From the menu, go to Modify, then Interpret Footage. A pop up will open and, look at that, there’s a “Pixel Aspect Ratio” menu! There you just need to pick your lens’ stretch and voilá, it’s done, looking just like it should.

After Effects has a few different options. First, you can import your footage and do the same thing as Premiere: right click, “Interpret Footage”, then “Main”, and in “Other Options”, change the “Pixel Aspect Ratio”. To preview this change, enable the Pixel Aspect Ratio correction on the viewer by clicking this icon.

Another way is you just get your squeezed footage file, drop it into a new Composition, go into its Transform attributes, open up Scale and uncheck the chainlink here – this allows you to scale width and height separately. Once that’s done, just input stretch factor multiplied by 100 into the width field (it’s the first one). 133%, 150% or 200%.

This part here is not exactly necessary, but it’s how I like to do it since I always output everything at 1080p: messing with the Scale attribute will give me an image that’s larger than my final resolution, so I do the step above as a start, then check the chainlink since this is the new ratio I want between height and width and bring the width back down to 100%. This will reduce the height of the clip and make it fit inside the composition. It also leads to a higher VERTICAL resolution, since the the vertical pixels have been downscaled. Like shooting at 4k to output at 1080p.

Photoshop is almost like After Effects. I’m gonna use a still picture here, since I still do a lot of anamorphic photographs. To open the Image Size panel go through Image > Image Size in the menus or press Ctrl+Alt+I . Here, select “Percent” as the measurement – it’s usually set to “Pixels”. You can see a chainlink here too, looks familiar? It’s ON by default, so turn it off and, again, input the stretch factor multiplied by 100. 133, 150 or 200, or any other value, if you have a different lens. Hit Ok and enjoy your right looking photo.

For Final Cut Pro X, import your footage, then create a “New Project” and in the pop-up window, select “Use Custom Settings”. Then, in the “Video Properties” section, instead of “Set based on first video clip”, set it to “Custom” and pick “Custom” from the dropdown menu. In the first field, regarding the width, input your shooting resolution multiplied by your lens’ stretch factor. For example, here I have 1920 multiplied by 1.33x equals 2553. Adjust any other fields that you might want to change, and press “OK”.

Now drag your clip to the timeline, click on it and go to the “Transform” menu. Click “Show” to expand the properties, then on the little arrow by “Scale” to show both horizontal and vertical scale. Finally, put your lens stretch times a hundred in the X scale, and the footage should be perfectly stretched to fit the project window. The process is exactly the same for other stretch values. For 1.5x, I’m gonna use 2880 by 1080, and then change the X Scale, and for 2x lenses, I’m going with 3840 by 1080, X Scale set to 200%. Then, edit, export, do whatever, with your now good looking footage!

Phew, that was a lot of different options, I hope I was able to help anyone out there having a hard time with the software or the concept of stretching the footage. If you liked this video, you should subscribe to the channel for the upcoming ones and then head on to the blog for a lot more anamorphic content such as the Anamorphic on a Budget guide, the Anamorphic Cookbook and a Calculator that helps you figuring out whether your lens will vignette or not. I also have an awesome t-shirt you can get to help me with this project! Now go out and shoot some pretty pictures for me since I’m stuck at home. Tito Ferradans out for a rainy Sunday.

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