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December 2016

Anamorphic Day-to-Day

2016 Anamorphic on a Budget In Numbers.

December 31, 2016

2016 was a big year for Anamorphic on a Budget. The project kicked off in mid 2015, but it was only in 2016 that it really picked up steam.

On youtube, we went from 300 subscribers at the end of 2015 to 2700 by the end of 2016. The playcount grew even more than that, jumping from 22 thousand in 2015 to 220 thousand in 2016!

The blog also saw a steep curve in visitor numbers, even though the articles weren’t as numerous. In 2015 I had roughly 35 thousand visits for 140 published articles. 2016 more than doubled that, at 80 thousand views for 62 articles.

The most popular episodes were the hFOV Calculator and the Helios 44-2 Extreme Mod (Mk I, Mk II). These last ones featured on PetaPixel, DIYPhotography and a few other places. It was a first time for me!

Explosive Post of the Year goes to How I Fell For a LOMO Anamorphic Scam. Reeling 800 hits the day it went up, it performed three times better than a regular post. This boost in performance is also dangerous as it motivates me to take bolder moves and act carelessly just so I have a good story to tell (don’t worry, I keep choosing the safe approach).

It was an year of collaborations. I had posts based on knowledge and gear shared by many people! In that list: Matt Leaf, Cosimo Murgolo, James Price, Chris Bold, Amir Safari, Alan Besedin, Brian Caldwell, Richard Gale, Rob Bannister, Fernão Morato, Bruno Nicko, João Gabriel Rodrigues, John Barlow, Andrew Chan at SLR Magic and Bohus Blahut at Fotodiox. I didn’t realize this list was so long until now. If you have any cool ideas that would make a good video, get in touch!

I already have lots of things in store for 2017, so stick around, subscribe and let’s go for more anamorphic!

Thank you for being a part of it,
Tito Ferradans

Anamorphic Day-to-Day

Anamorfake Mir 1B: Extreme Mod Tutorial

December 25, 2016

Here are the steps for the anamorfake Mir 1B. This is an extreme mod tutorial and it ties the loose ends of this year’s tutorials. There are lots of steps!


All the RED links on this post are part of eBay’s Partner Network. If you purchase anything through them you’re helping this project.


Anamorfake Jupiter 9: Extreme Mod Tutorial

December 18, 2016

Here’s how to anamorfake the Jupiter 9 with an extreme mod. This is a wonderful mid-telephoto, 85mm. It’s a long tutorial, so get ready.


All the RED links on this post are part of eBay’s Partner Network. If you purchase anything through them you’re helping this project.


From childhood to adulthood: A coming-of-age reading of It Follows.

December 15, 2016

It Follows, directed by David Robert Mitchell, premiered in 2014 at the Cannes Film Festival. The movie achieved great critical acclaim as one of the best horror movies of late and has grown a large following among the cult audience. In what is considered his first feature film, Mitchell pays tribute to many classic horrors – Halloween, Night of the Living Dead, The Ring, Nightmare on Elm Street among others -, using the genre’s conventions on his favor to subvert the audience’s expectations. His ability to do so is what makes It Follows so memorable. The movie tells the story of Jay (Maika Monroe), a 19-year-old girl who ends up infected with a dreadful curse after having sex with her date Hugh (Jake Weary). Jay is then haunted by an entity that only cursed people are able to see. The creature is represented through the most terrifying and cliché behavior of horror movie villains: it never stops and it always walks straight towards its victim. What sets It Follows apart from other horror movies is its underlying symbolism. While today’s horrors are usually built around a predictable plot interwoven with jump-scares and gore visuals, Mitchell’s film has its own pace and themes. It Follows is a coming-of-age tale that happens to be told through the scope of the horror genre. Some of the most noticeable themes introduced by the movie as part of adult life are the constant presence of sex, the danger of STDs, the absence of parental figures as protectors and guides, and the bond of friendship that acquires a new meaning in adulthood. Mitchell uses the subtext to talk about loss of innocence, insecurity about one’s own body, and realization that all life inevitably ends.

On the most superficial level, having a curse that is passed through sex is a clear link to the dangers of STDs. STDs are a risk of an active sexual life – a strong indicator of transition into adulthood. As Mitchell explains in an interview to Rich Juzwiak, at the Hollywood news website Defamer, Jay is not a virgin when she has sex with Jeff, in addition, the way the characters discuss the subject of sex in the movie is loaded with meanings other than casual. Sex is a very big deal and at times it is their only way to survive. On the other hand, it exposes them, making them feel vulnerable and uncomfortable. One of the scenes that portrays these elements is when Jay is in her bathroom. She spends the longest time looking at herself in the mirror – this is the second time she shows concern about her looks. After staring at the mirror she peeks into her underwear, inspecting as if something is wrong down there after Jeff tells her about the demon. In this scene we have one of the few jump-scares in the movie as a red ball hits the window. Jay is startled, but then resumes her inspection. The camera is then moved to the outside of the house showing a young boy peeping through the window. This is the same boy that spies on her while she is in the pool, at the beginning of the movie. His gaze is much different than the longer looks given by Paul and Greg, putting the camera in their point of view. The difference in perspective of how a child sees an opposite-sex body and how an adult sees it is reinforced twice when erotic magazines are brought into the subject. One of them is while Paul and Jay reminisce about the time they found a pile of such magazines in an alley and spread them out in the front yard, not understanding the meaning of the photographs. The second time is while they visit Jeff’s makeshift home, where all he left behind are the magazines and used tissues. Paul is skipping through one of the magazines, paying close attention to the photographs.

An important element of adulthood is the replacement of parental figures and their guidance with friendships where they help each other. This is presented through the utter absence of the characters’ parents in their life-or-death drama. Jay and Kelly’s mother appears a couple of times, but never has any meaningful conversation with any of them. Jay actively refuses to call her mother for help in one of her encounters with the creature. Building on top of that, the shape that the creature takes when it kills Greg is his own mother – and it rapes him to death -, and the one that comes closest to killing Jay is her father. It Follows illustrates the transition from childhood to adulthood as a rupture with parental figures. They can even become dangerous, given the circumstances. To overcome that, Jay, Kelly, Yara, Paul and Greg bond together, putting their lives at risk to protect one another in any way they can. This protection is still maturing as depicted in their final fight with the demon. Mitchell says the plan they came up with to kill the creature “[is] a kid-movie plan, it’s something that Scooby-Doo and the gang might think of, and that was sort of the point . . . Ultimately, [they] have to resort to some way of fighting it that’s accessible to [them] in the physical world, and that’s not really going to cut it.” (Buchanan). That is another thing about being an adult: sometimes there is no solution for the problem at hand. As Yara reads from The Idiot: “if one is faced with inevitable destruction, . . . one must feel a great longing to sit down, close one’s eyes and wait, come what may” (Dostyevsky 128), which is exactly what they face. Opposed to Dostoyevsky’s words, Jay never gives up. She always fights, runs and claws for her life.

The certainty of death is the core theme of It Follows’ coming-of-age story. At the end of the movie, Yara reads another passage from The Idiot that synthesizes this idea: “physical agony and all this distracts the mind from mental suffering so that one is tormented by the wounds until the moment of death. And the most terrible agony may not be in the wounds themselves but in knowing for certain that . . . your soul will leave your body and you will no longer be a person. And that this is certain, the worst thing is that this is certain” (Dostoyevsky 43). A demon that will always walk towards its victim and never gives up is not even subtle enough to be called a metaphor. Being an adult means accepting death and pushing forward. In various moments of the movie the characters talk about childhood memories and places that acquired different meanings as they grew up. Jay, Kelly, Paul, Yara and Greg are not old, but they are all well aware their childhood days are gone. “I mean, how cool would that be, to have your whole life ahead of you?”, Jeff says picking a young boy as someone he would like to trade places with. He goes on to number a series of advantages of being a kid. Jay remarks that he is not old, only 21. Later that same night, Jay rambles about what she expected from growing up, when she was a child, and all the amazing experiences she would have, she would finally feel free. In the end, after Jay has sex with Paul – the only guy in the movie that is emotionally invested in being with her – they work out a plan so they can live their lives. In the last shots, they go out together and face the possibility death without panicking as they have for the previous days. Death is still walking towards them in the very last shot.

The numerous bodies of water set a starting point for Jay. They depict safety, or in a more abstract fashion, the mother’s womb, representing protection for her offspring. In the first sequence at the pool, Jay is completely peaceful and safe. The group of friends seeks refuge at Greg’s beach house, Jay swims towards a boat in order to pass the demon along. After that, the pool in her backyard is broken, dry. She has been expelled from safety, from her childhood sanctuary and there is no going back. The confirmation of that is the final battle against the demon at the community pool, where the waters fail to keep her safe, almost drowning her as the demon – assuming the shape of her father – grabs her foot. The creature is then gunned down and the strongest shot in the movie shows up: the entire pool becomes red with blood, which could represent the loss of virginity or a girl’s first period, both meaningful rituals of becoming an adult. After their escape, Paul and Jay have sex, in the only rainy scene of the movie, as if the water that first acted as protection now symbolizes a blessing to their relationship. Their dialogue after the act is loaded with multiple meanings, as the first line is a big cliché for loss-of-virginity sex. “Do you feel any different?”, Paul asks. Jay shakes her head negatively. “Do you?”, she asks back. “No.”. Yet they are all very different now.


Buchanan, Kyle. “It Follows Spoiler Bomb: The Director Explains All Those Twists and Shocks“. Vulture. 27 Mar 2015. Web. 19 Nov 2016

Dostoyevsky, Fyodor. The Idiot. Auckland, NZ: The Floating Press, 1915. ProQuest ebrary. Web. 20 Nov 2016.

It Follows. Dir. David Robert Mitchell. Northern Lights, Animal Kingdom, and Two Flints. 2014. Film.

Juzwiak, Rich. “A Conversation About It Follows, 2015’s First Must-See Horror Movie“. Defamer. 13 Mar 2015. Web. 20 Nov 2016


Anamorphic Double Focus On The Fly

December 11, 2016

Anamorphic double focus is painful but there are ways to deal with it more easily. Here’s one of them. Take turns adjusting your lenses until you get rid of all streaking!


All the RED links on this post are part of eBay’s Partner Network. If you purchase anything through them you’re helping this project.

Anamorphic Day-to-Day Specials

Anamorphic Field of View Calculator v2.8

December 4, 2016

I’ve updated the anamorphic field of view calculator (or the HFOV Calculator if you wanna be precise).

What is this calculator again? This is a webapp that allows you to input various settings from your camera setup and figure out if you’ll get vignetting using an anamorphic adapter.

You can pick your focal length, camera crop, focal reducer, anamorphic adapter, single focus solution and sensor aspect ratio. These are all the values that I need to tell if you’ll experience vignetting.

This time I coded it from scratch. The new version is much more like what I originally envisioned for it. It works more fluidly and it’s much easier to update. I did some fixes to the overall math and added many features.

We also have a checkbox for pancake lenses. These are more tolerant with vignetting. I added another checkbox for Baby Anamorphics and custom rules for their behavior. I also added single focus solutions which influence vignetting. Plus in some cases these can change your field of view according to the focused distance. Lastly, I included a field that allows you to check if you’re limiting your maximum aperture based on your anamorphic’s rear element size.

The calculator only has two functions. HFOV will tell you what’s the Resulting Field of View and Resulting Aspect Ratio based on your setup. I WANT A TAKING LENS will also take into account your setup but do the math in reverse, using the Resulting Field of View and Resulting Aspect Ratio to tell you which taking Lens will give you that result, and what sensor crop is required. Both buttons will always tell you if you’ll get vignetting or not.

In the last minute I added a second calculator for diopters. You can input your maximum focus and that will give you a diopter strength, or you can input a diopter strength, and that will work out the focus math. If you put your lens’ minimum focus value in, it’ll give you the new minimum focus as well. For expert diopter hunters, this will help you figuring out diopters that aren’t so clear from manufacturers (like the ones that give you what’s the new minimum focus of a given lens, instead of the optical power).

In terms of functionality, every time you input something wrong (mostly characters that aren’t numbers), that field will be red and you can’t do the math until all red fields have been fixed. I also included a donate button at the bottom, because getting the data to build this took me months, and coding it wasn’t easy task either. So, if the calculators are useful for you, you can show it by sending me a little something. Now go break it, and I’ll see you next week.