Tracey Lee sent us his latest project – the first package of anamorphic lens flares for your movies which he’s trying to fund via this Anamorphica Kickstarter project.
Anamorphic lens flares have a very unique look and feel. They create long streaks and beautiful oblong patterns rather than circular. They are often created in hollywood today either by using real anamorphic lenses or created in post production. There are some programs out there that digitally simulate anamorphic lens flares but they can often look fake. The look you get from a real anamorphic lens is organic and unmatched in its beauty. However, anamorphic lenses are expensive. They cost tens of thousands of dollars and even several thousand to rent. We want to get you the option to use anamorphic lens flares without all those costs… affordable for anyone who wants to use the effect.
What is Anamorphica?
1. Very high quality, real anamorphic lens flare overlays. We specially craft these great lens flares that give you that unique look of an in-camera anamorphic flare.
2. Both HD and 4K. As far as we know, Anamorphica will be the first real anamorphic lens flare overlay package that is available in these three formats: HS H.264, 1080P ProRes, and 4K resolution.
3. Available for most editing systems. Anamorphica will be able to work in any editing system that will accept H.264 or ProRes. Most systems can accept these codecs…and if yours doesn’t you can take the high quality files and re-encode them for your system.
4. Affordable for everyone. If we can raise the funds to cover the overhead costs of Anamorphica, we can get this product into the hands of indie filmmakers and production houses for a very affordable cost.
5. Easy to use. Import your Anamorphica clip, lay it over your footage, choose a composite mode, then tweak the opacity and other settings to taste. We will also be releasing this as a easy plugin for Final Cut Pro X.
6. Really awesome!!! Why? Because we will be using 4K cinema cameras! This means that there will be very little, if none at all, digital artifacts like unwanted digital grain, or pixel blocking. you will have very clean flares to work with.
Why are we using a 4K Camera?
First of all, a lot of people ad studios are starting to produce with the RED Cinema camera and they want high quality and clean files.
Second, Final Cut Pro X just release the latest update to support Red Code Raw…all the better right? If FCPX will start accepting Red 4k files natively then that’s one step closer you get to a better workflow for high quality 4K files.
Third, even if you shoot and edit in 1080P using a DSLR camera and plan to use the 1080P version, since it came form a 4K file originally, your flare files are going to be ultra clean with no or very little artifacts or pixel blocking! Very high quality all around.
(cover photo credit: snap from the project)