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It’s movie night, the time to see one of several big science-fiction films of the summer. You arrive just as the 15 minutes of previews start, trying to sneak past the other patrons in your row without tripping over any outstretched limbs or jutting armrests. At last, you’ve arrived at your seat. You ease into the overly spongy cushion and let out a sigh of relief as the realization that you didn’t tar-and-feather any of the other moviegoers with your one-two punch of glowing-yellow buttered popcorn and soft drink.
What began as a tool and technique for capturing and projecting wider aspect ratios on 35mm film, anamorphic lenses are a runaway favorite among cinematographers for the unique characteristics they bring to moving images. Ultra-wide rectangular aspect ratios, long horizontal lens flares, and oval bokeh (the out-of-focus areas of the image) now feel as much a part of the cinematic experience as a bucket of popcorn and a liter of soda.
Off the cuff, one might think there are few, if any, differences between packing a DSLR system and an HDSLR system, but once you look beyond the basics, i.e. the camera bodies, lenses and tripod (the legs, but not necessarily the head), the differences start adding up.
Though video capture has become a standard feature in many DSLRs, capturing decent video remains elusive to many newbies simply because shooting video requires more thought and practice than shooting stills. A key to successful video capture is a proper support system.