{"id":117120,"date":"2019-08-22T13:52:41","date_gmt":"2019-08-22T11:52:41","guid":{"rendered":"https:\/\/www.cined.com\/?p=117120"},"modified":"2019-08-22T16:43:21","modified_gmt":"2019-08-22T14:43:21","slug":"anamorphic-shooting-ideal-sensor-size","status":"publish","type":"post","link":"https:\/\/staging.cined.dev\/es\/anamorphic-shooting-ideal-sensor-size\/","title":{"rendered":"Filmaci\u00f3n anam\u00f3rfica \u2013 \u00bfexiste un tama\u00f1o de sensor ideal?"},"content":{"rendered":"

En esta publicaci\u00f3n de invitado, el cineasta independiente con sede en Vancouver y fan\u00e1tico de las lentes anam\u00f3rficas, Tito Ferradans, comparte con nosotros sus opiniones sobre la filmaci\u00f3n anam\u00f3rfica y el tama\u00f1o de sensor ideal. <\/b><\/span><\/p><117120-inline-buylinks\/>\n

La BMPCC 6K impuls\u00f3 los modos anam\u00f3rficos hacia los modelos m\u00e1s baratos de Blackmagic \u2013 dichos modos sol\u00edan estar reservados para la l\u00ednea URSA. Anticipando un aumento en las preguntas sobre este tema, escrib\u00ed esta publicaci\u00f3n.<\/p>\n

Hay muchos conceptos err\u00f3neos sobre el tama\u00f1o del sensor y la filmaci\u00f3n anam\u00f3rfica. Creo que esto comenz\u00f3 con la Panasonic GH4, pero perm\u00edtanme explicar primero el problema. Cada dos d\u00edas recibo mensajes de personas que me “informan” que no pueden usar lentes 2x porque su c\u00e1mara no tiene un modo anam\u00f3rfico.<\/p>\n

Dicen que est\u00e1n limitados a lentes 1.33x o 1.5x y no saben qu\u00e9 elegir. Algunos son a\u00fan m\u00e1s extremos y piden recomendaciones de c\u00e1maras. La Sony a7S II no tiene un modo anam\u00f3rfico, sin embargo, he estado filmando anam\u00f3rfico durante tres a\u00f1os y nunca me dio problemas. Recientemente recib\u00ed una Panasonic GH5 que cuenta con un modo anam\u00f3rfico.<\/span><\/p>\n

\u00bfQu\u00e9 es el modo anam\u00f3rfico y por qu\u00e9 es bueno tenerlo?<\/h2>\n

Las lentes anam\u00f3rficas comprimen m\u00e1s campo de visi\u00f3n en el sensor. Tienen muchas m\u00e1s cosas, pero este es el aspecto que estamos tratando ahora. Digamos que la lente anam\u00f3rfica ideal tiene una compresi\u00f3n de 2x, lo que significa que debes duplicar el ancho de tu imagen en postproducci\u00f3n para que tu toma se vea correcta.<\/span><\/p>\n

Multiplicaci\u00f3n matem\u00e1tica simple: filmar 16:9 (y luego duplicar el ancho del cuadro) produce una relaci\u00f3n de aspecto un tanto extrema: 3.56:1, hasta ahora reservada para <\/span>pruebas de lentes<\/span><\/a> y <\/span>videos musicales de Taylor Swift<\/span><\/a>.<\/span><\/p>\n

\"\"<\/a><\/p>\n

Las c\u00e1maras con modos anam\u00f3rficos te permiten grabar diferentes \u00e1reas del sensor, no necesariamente 16:9. La GH4 permite una relaci\u00f3n de aspecto 4:3, la BMPCC 6K ofrece 6:5. Usando un visor 2x, 4:3 se convierte en 2.66:1 y 6:5 se convierte en 2.4:1, el cl\u00e1sico CinemaScope. Sin embargo, estos modos no utilizan todo el ancho del sensor. B\u00e1sicamente, la c\u00e1mara est\u00e1 recortando los costados del cuadro. \u00bfEs eso lo que representa el modo anam\u00f3rfico?<\/span><\/p>\n

\"\"<\/a><\/p>\n

La excepci\u00f3n aqu\u00ed es la GH5 y su modo Open Gate. Dado que la serie GH de Panasonic tiene un sensor 4:3, sus t\u00e9cnicos pensaron “\u00bfpor qu\u00e9 no dejar que las personas graben toda el \u00e1rea del sensor?”. Esto nos lleva a las ventajas reales de los modos anam\u00f3rficos.<\/span><\/p>\n

\u00bfCu\u00e1les son las ventajas del modo anam\u00f3rfico?<\/h2>\n

Las ventajas menores de un modo anam\u00f3rfico es que hace un uso m\u00e1s eficiente del \u00e1rea del sensor disponible y, por lo tanto, requiere sustancialmente menos o ning\u00fan recorte en postproducci\u00f3n. Tambi\u00e9n permite un mejor uso de la tasa de bits de la c\u00e1mara sobre el \u00e1rea de imagen final.<\/span><\/p>\n

Sin embargo, la mayor ventaja de un modo anam\u00f3rfico correcto es que utiliza una altura de sensor mayor en comparaci\u00f3n con el video 16:9. Si observas los n\u00fameros y esquemas a continuaci\u00f3n, la diferencia es f\u00e1cil de ver en la GH5 y otras c\u00e1maras que registran Open Gate (<\/span>gracias, Arri<\/span><\/a>). \u00a1Esto te da un cuadro que no solo es m\u00e1s ancho despu\u00e9s de la descompresi\u00f3n, sino tambi\u00e9n m\u00e1s alto!
\n<\/span><\/p>\n

\"\"<\/a><\/p>\n

Pero si nos fijamos en la BMPCC 6K, la Ursa Mini 4.6K y otras, las cosas son un poco diferentes…<\/span><\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

No solo est\u00e1s perdiendo la altura adicional que se ofrece en los modos 16:9, tambi\u00e9n te est\u00e1s privando de la valiosa posibilidad de re encuadrar en postproducci\u00f3n.<\/span><\/p>\n

Entonces, \u00bfexisten ventajas al no tenerlo\/usarlo?<\/h2>\n

Si tu c\u00e1mara tiene un modo anam\u00f3rfico pero no agrega altura al resultado en comparaci\u00f3n con sus otros modos de grabaci\u00f3n, b\u00e1sicamente est\u00e1s desechando informaci\u00f3n que podr\u00eda ser \u00fatil m\u00e1s adelante.<\/span><\/p>\n

Es por eso que nunca me quej\u00e9 de filmar anam\u00f3rfico 2x con la Sony a7S II. La configur\u00e9 con marcas de recorte 4:3 y grab\u00e9 directamente en 16:9. Lo \u00fanico que realmente importa es que obtengo im\u00e1genes limpias en el \u00e1rea marcada de 4:3. Cualquier cosa que se pueda usar m\u00e1s all\u00e1 de esas marcas es una ventaja y me permite re encuadrar en el proceso de edici\u00f3n para equilibrar las composiciones o incluso crear movimientos de c\u00e1mara que antes no exist\u00edan.<\/span><\/p>\n

\"\"<\/a>

Sony a7S II + lente anam\u00f3rfico Atlas Orion 40mm T2 2x. \u00bfVes c\u00f3mo el \u00e1rea 2.4:1 est\u00e1 limpia?<\/p><\/div>\n

Conclusi\u00f3n:<\/strong> siempre debes optar por el modo que te brinde la mayor resoluci\u00f3n vertical y el mejor uso del sensor, incluso aunque tengas que recortar parte del cuadro m\u00e1s adelante. Tendr\u00e1 m\u00e1s datos, m\u00e1s \u00e1rea de sensor y m\u00e1s imagen sobre la que trabajar. Si tienes una fecha l\u00edmite muy pr\u00f3xima, seguro, no recortes y hazlo todo en la c\u00e1mara.<\/span><\/p>\n

De todos modos, si est\u00e1s perdido o eres nuevo en esto de lidiar con dichos aspectos de postproducci\u00f3n, \u00a1tengo videos publicados sobre <\/span>c\u00f3mo establecer relaciones de aspecto adecuadas en los principales programas de edici\u00f3n<\/span><\/a> y sobre <\/span>c\u00f3mo recortar f\u00e1cilmente las im\u00e1genes<\/span><\/a> tambi\u00e9n!<\/span><\/p>\n

Ahora, parece que para maximizar las capacidades de tu visor tendr\u00edas que comprar la Panasonic GH5.<\/span><\/p>\n

Una reflexi\u00f3n adicional respecto al “Anamorfaking”<\/h2>\n

Si no tienes lentes anam\u00f3rficas y a\u00fan deseas crear el aspecto anam\u00f3rfico, la BMPCC 6K tambi\u00e9n ofrece un modo de grabaci\u00f3n de 2.40:1 que te dar\u00e1 un cuadro que es un CinemaScope perfecto, aunque est\u00e9s filmado con lentes esf\u00e9ricas. No es necesario lidiar con los recortes despu\u00e9s. \u00a1Puedes combinar esta relaci\u00f3n de aspecto con <\/span>lentes y filtros modificados<\/span><\/a> para crear un look que de otro modo costar\u00eda una fortuna! M\u00e1s sobre el anamorfaking pronto en una pr\u00f3xima publicaci\u00f3n aqu\u00ed en cinema5D.
\n<\/span><\/p>\n

\"\"<\/a><\/p>\n

Si no tienes la nueva BMPCC 6K, la mayor\u00eda de las otras c\u00e1maras ofrecen alg\u00fan tipo de marcas de recorte o superposiciones que te permiten encuadrar para 2.40:1 o 2.35:1 cuando filmas en 16:9. Encuadrar con marcas de recorte te dar\u00e1 una idea precisa de tu encuadre final y te ahorrar\u00e1 problemas de recorte imprevistos, como demasiado espacio sobre la cabeza o cabezas recortadas.<\/span><\/p>\n

\u00bfLa filmaci\u00f3n con lentes o adaptadores anam\u00f3rficos te resulta interesante? \u00bfTe gustar\u00eda desarrollar tus habilidades de filmaci\u00f3n anam\u00f3rfica leyendo m\u00e1s contenido relacionado en nuestro sitio? Cu\u00e9ntanos en la secci\u00f3n de comentarios debajo.<\/strong><\/p>\n<117120-main-buylinks\/>","protected":false,"clean_render":"

En esta publicaci\u00f3n de invitado, el cineasta independiente con sede en Vancouver y fan\u00e1tico de las lentes anam\u00f3rficas, Tito Ferradans, comparte con nosotros sus opiniones sobre la filmaci\u00f3n anam\u00f3rfica y el tama\u00f1o de sensor ideal. <\/b><\/span><\/p><117120-inline-buylinks\/>\n

La BMPCC 6K impuls\u00f3 los modos anam\u00f3rficos hacia los modelos m\u00e1s baratos de Blackmagic \u2013 dichos modos sol\u00edan estar reservados para la l\u00ednea URSA. Anticipando un aumento en las preguntas sobre este tema, escrib\u00ed esta publicaci\u00f3n.<\/p>\n

Hay muchos conceptos err\u00f3neos sobre el tama\u00f1o del sensor y la filmaci\u00f3n anam\u00f3rfica. Creo que esto comenz\u00f3 con la Panasonic GH4, pero perm\u00edtanme explicar primero el problema. Cada dos d\u00edas recibo mensajes de personas que me “informan” que no pueden usar lentes 2x porque su c\u00e1mara no tiene un modo anam\u00f3rfico.<\/p>\n

Dicen que est\u00e1n limitados a lentes 1.33x o 1.5x y no saben qu\u00e9 elegir. Algunos son a\u00fan m\u00e1s extremos y piden recomendaciones de c\u00e1maras. La Sony a7S II no tiene un modo anam\u00f3rfico, sin embargo, he estado filmando anam\u00f3rfico durante tres a\u00f1os y nunca me dio problemas. Recientemente recib\u00ed una Panasonic GH5 que cuenta con un modo anam\u00f3rfico.<\/span><\/p>\n

\u00bfQu\u00e9 es el modo anam\u00f3rfico y por qu\u00e9 es bueno tenerlo?<\/h2>\n

Las lentes anam\u00f3rficas comprimen m\u00e1s campo de visi\u00f3n en el sensor. Tienen muchas m\u00e1s cosas, pero este es el aspecto que estamos tratando ahora. Digamos que la lente anam\u00f3rfica ideal tiene una compresi\u00f3n de 2x, lo que significa que debes duplicar el ancho de tu imagen en postproducci\u00f3n para que tu toma se vea correcta.<\/span><\/p>\n

Multiplicaci\u00f3n matem\u00e1tica simple: filmar 16:9 (y luego duplicar el ancho del cuadro) produce una relaci\u00f3n de aspecto un tanto extrema: 3.56:1, hasta ahora reservada para <\/span>pruebas de lentes<\/span><\/a> y <\/span>videos musicales de Taylor Swift<\/span><\/a>.<\/span><\/p>\n

\"\"<\/a><\/p>\n

Las c\u00e1maras con modos anam\u00f3rficos te permiten grabar diferentes \u00e1reas del sensor, no necesariamente 16:9. La GH4 permite una relaci\u00f3n de aspecto 4:3, la BMPCC 6K ofrece 6:5. Usando un visor 2x, 4:3 se convierte en 2.66:1 y 6:5 se convierte en 2.4:1, el cl\u00e1sico CinemaScope. Sin embargo, estos modos no utilizan todo el ancho del sensor. B\u00e1sicamente, la c\u00e1mara est\u00e1 recortando los costados del cuadro. \u00bfEs eso lo que representa el modo anam\u00f3rfico?<\/span><\/p>\n

\"\"<\/a><\/p>\n

La excepci\u00f3n aqu\u00ed es la GH5 y su modo Open Gate. Dado que la serie GH de Panasonic tiene un sensor 4:3, sus t\u00e9cnicos pensaron “\u00bfpor qu\u00e9 no dejar que las personas graben toda el \u00e1rea del sensor?”. Esto nos lleva a las ventajas reales de los modos anam\u00f3rficos.<\/span><\/p>\n

\u00bfCu\u00e1les son las ventajas del modo anam\u00f3rfico?<\/h2>\n

Las ventajas menores de un modo anam\u00f3rfico es que hace un uso m\u00e1s eficiente del \u00e1rea del sensor disponible y, por lo tanto, requiere sustancialmente menos o ning\u00fan recorte en postproducci\u00f3n. Tambi\u00e9n permite un mejor uso de la tasa de bits de la c\u00e1mara sobre el \u00e1rea de imagen final.<\/span><\/p>\n

Sin embargo, la mayor ventaja de un modo anam\u00f3rfico correcto es que utiliza una altura de sensor mayor en comparaci\u00f3n con el video 16:9. Si observas los n\u00fameros y esquemas a continuaci\u00f3n, la diferencia es f\u00e1cil de ver en la GH5 y otras c\u00e1maras que registran Open Gate (<\/span>gracias, Arri<\/span><\/a>). \u00a1Esto te da un cuadro que no solo es m\u00e1s ancho despu\u00e9s de la descompresi\u00f3n, sino tambi\u00e9n m\u00e1s alto!
\n<\/span><\/p>\n

\"\"<\/a><\/p>\n

Pero si nos fijamos en la BMPCC 6K, la Ursa Mini 4.6K y otras, las cosas son un poco diferentes…<\/span><\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

No solo est\u00e1s perdiendo la altura adicional que se ofrece en los modos 16:9, tambi\u00e9n te est\u00e1s privando de la valiosa posibilidad de re encuadrar en postproducci\u00f3n.<\/span><\/p>\n

Entonces, \u00bfexisten ventajas al no tenerlo\/usarlo?<\/h2>\n

Si tu c\u00e1mara tiene un modo anam\u00f3rfico pero no agrega altura al resultado en comparaci\u00f3n con sus otros modos de grabaci\u00f3n, b\u00e1sicamente est\u00e1s desechando informaci\u00f3n que podr\u00eda ser \u00fatil m\u00e1s adelante.<\/span><\/p>\n

Es por eso que nunca me quej\u00e9 de filmar anam\u00f3rfico 2x con la Sony a7S II. La configur\u00e9 con marcas de recorte 4:3 y grab\u00e9 directamente en 16:9. Lo \u00fanico que realmente importa es que obtengo im\u00e1genes limpias en el \u00e1rea marcada de 4:3. Cualquier cosa que se pueda usar m\u00e1s all\u00e1 de esas marcas es una ventaja y me permite re encuadrar en el proceso de edici\u00f3n para equilibrar las composiciones o incluso crear movimientos de c\u00e1mara que antes no exist\u00edan.<\/span><\/p>\n

\"\"<\/a>

Sony a7S II + lente anam\u00f3rfico Atlas Orion 40mm T2 2x. \u00bfVes c\u00f3mo el \u00e1rea 2.4:1 est\u00e1 limpia?<\/p><\/div>\n

Conclusi\u00f3n:<\/strong> siempre debes optar por el modo que te brinde la mayor resoluci\u00f3n vertical y el mejor uso del sensor, incluso aunque tengas que recortar parte del cuadro m\u00e1s adelante. Tendr\u00e1 m\u00e1s datos, m\u00e1s \u00e1rea de sensor y m\u00e1s imagen sobre la que trabajar. Si tienes una fecha l\u00edmite muy pr\u00f3xima, seguro, no recortes y hazlo todo en la c\u00e1mara.<\/span><\/p>\n

De todos modos, si est\u00e1s perdido o eres nuevo en esto de lidiar con dichos aspectos de postproducci\u00f3n, \u00a1tengo videos publicados sobre <\/span>c\u00f3mo establecer relaciones de aspecto adecuadas en los principales programas de edici\u00f3n<\/span><\/a> y sobre <\/span>c\u00f3mo recortar f\u00e1cilmente las im\u00e1genes<\/span><\/a> tambi\u00e9n!<\/span><\/p>\n

Ahora, parece que para maximizar las capacidades de tu visor tendr\u00edas que comprar la Panasonic GH5.<\/span><\/p>\n

Una reflexi\u00f3n adicional respecto al “Anamorfaking”<\/h2>\n

Si no tienes lentes anam\u00f3rficas y a\u00fan deseas crear el aspecto anam\u00f3rfico, la BMPCC 6K tambi\u00e9n ofrece un modo de grabaci\u00f3n de 2.40:1 que te dar\u00e1 un cuadro que es un CinemaScope perfecto, aunque est\u00e9s filmado con lentes esf\u00e9ricas. No es necesario lidiar con los recortes despu\u00e9s. \u00a1Puedes combinar esta relaci\u00f3n de aspecto con <\/span>lentes y filtros modificados<\/span><\/a> para crear un look que de otro modo costar\u00eda una fortuna! M\u00e1s sobre el anamorfaking pronto en una pr\u00f3xima publicaci\u00f3n aqu\u00ed en cinema5D.
\n<\/span><\/p>\n

\"\"<\/a><\/p>\n

Si no tienes la nueva BMPCC 6K, la mayor\u00eda de las otras c\u00e1maras ofrecen alg\u00fan tipo de marcas de recorte o superposiciones que te permiten encuadrar para 2.40:1 o 2.35:1 cuando filmas en 16:9. Encuadrar con marcas de recorte te dar\u00e1 una idea precisa de tu encuadre final y te ahorrar\u00e1 problemas de recorte imprevistos, como demasiado espacio sobre la cabeza o cabezas recortadas.<\/span><\/p>\n

\u00bfLa filmaci\u00f3n con lentes o adaptadores anam\u00f3rficos te resulta interesante? \u00bfTe gustar\u00eda desarrollar tus habilidades de filmaci\u00f3n anam\u00f3rfica leyendo m\u00e1s contenido relacionado en nuestro sitio? Cu\u00e9ntanos en la secci\u00f3n de comentarios debajo.<\/strong><\/p>\n<117120-main-buylinks\/>"},"excerpt":{"rendered":"

En esta publicaci\u00f3n de invitado, el cineasta independiente con sede en Vancouver y fan\u00e1tico de las lentes anam\u00f3rficas, Tito Ferradans, comparte con nosotros sus opiniones sobre la filmaci\u00f3n anam\u00f3rfica y el tama\u00f1o de sensor ideal. La BMPCC 6K impuls\u00f3 los modos anam\u00f3rficos hacia los modelos m\u00e1s baratos de Blackmagic \u2013 dichos modos sol\u00edan estar reservados para la l\u00ednea URSA. Anticipando un aumento en las preguntas sobre este tema, escrib\u00ed esta publicaci\u00f3n. Hay muchos conceptos err\u00f3neos sobre el tama\u00f1o del sensor y la filmaci\u00f3n anam\u00f3rfica. Creo que esto comenz\u00f3 con la Panasonic GH4, pero perm\u00edtanme explicar primero el problema. Cada dos d\u00edas recibo mensajes de personas que me “informan” que no […]<\/p>\n","protected":false},"author":15446,"featured_media":117130,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[{"id":42290,"name":"Noticias","link":"https:\/\/staging.cined.dev\/es\/noticias\/","slug":"noticias"},{"id":42293,"name":"C\u00e1maras","link":"https:\/\/staging.cined.dev\/es\/noticias\/camaras\/","slug":"camaras"},{"id":42296,"name":"Lentes","link":"https:\/\/staging.cined.dev\/es\/noticias\/lentes\/","slug":"lentes"}],"tags":[24837,24923,25139,25156,26882,31858,34012,34013,34014],"tag_label":[],"brand":[],"class_list":["post-117120","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noticias","category-camaras","category-lentes","tag-anamorphic-es","tag-filmacion","tag-anamorphic-lenses-es","tag-lentes-anamorficos","tag-anamorfico","tag-anamorphic-shooting-es","tag-ideal-sensor-size-es","tag-sensor-sensor-size-es","tag-tamano-de-sensor-ideal"],"yoast_head":"\nFilmaci\u00f3n anam\u00f3rfica \u2013 \u00bfexiste un tama\u00f1o de sensor ideal? 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Compra con nuestros socios.<\/h4>\n\t\t\t\t<h2>Apoya a CineD. Compra con nuestros socios.<\/h2>\n\t\t\t\t<span class=\"sub-content\">Nuestras rese\u00f1as siempre son imparciales.<\/span>\n\t\t\t\t<div class=\"clear\"><\/div>\n\t\t\t\t<a href=\"https:\/\/www.cined.com\/es\/nuestros-principios\/\" class=\"affiliates-button\">Conoce m\u00e1s sobre nuestros principios<\/a>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"alternative-links-inner link-initial\"><div class=\"row\"><div class=\"col l9 m12 s12 offset-l3\"><header>Lumix GH5 Mirrorless Camera with Accessories Kit<\/header><\/div><\/div><div class=\"row\"><div class=\"col l3 m12 s12 alternative-links-thumb\"><img src=\"https:\/\/static.bhphoto.com\/images\/images345x345\/1663069139000_1429258.jpg\" alt=\"Lumix GH5 Mirrorless Camera with Accessories Kit\"><\/div><div class=\"col l8 m12 s12 alternative-link-data offset-l1\"><div class=\"row\"><div class=\"col s3 link-logo\"><span class=\"bh-logo\"><\/span><\/div><div class=\"col s2 link-flag no-padding\"><span class=\"link-flags link-flag-usa\"><\/span><\/div><div class=\"col s7 link-price no-padding\"><a class=\"btn\" href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1429258-REG\/panasonic_lumix_dc_gh5_mirrorless_micro.html\/\/BI\/7953\/KBID\/8488\/SID\/tito\/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">See more<i class=\"material-icons dp48\">arrow_forward<\/i><\/a><\/div><\/div><div class=\"row\"><div class=\"col l8 s7 link-price vat-notice center-align\"><strong>all prices excluding sales tax\/VAT<\/strong><\/div><\/div><\/div><\/div><\/div><\/div>"},"inline_buylinks":{"uuid":"117120-inline-buylinks","content":"<div class=\"alternative-links alternative-links-minimal\"><div class=\"alternative-links-inner\"><div class=\"link-product-name\"><strong>Lumix GH5 Mirrorless Camera with Accessories Kit<\/strong><\/div><div class=\"row\"><div class=\"col s3 link-logo\"><span class=\"bh-logo\"><\/span><\/div><div class=\"col s2 link-flag no-padding\"><span class=\"link-flags link-flag-usa\"><\/span><\/div><div class=\"col s7 link-price no-padding\"><a class=\"btn\" href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1429258-REG\/panasonic_lumix_dc_gh5_mirrorless_micro.html\/\/BI\/7953\/KBID\/8488\/SID\/tito\/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">See more<i class=\"material-icons dp48\">arrow_forward<\/i><\/a><\/div><\/div><div class=\"row vat-notice-minimal\"><div class=\"col l8 s7 link-price vat-notice center-align\"><strong>all prices excluding sales tax\/VAT<\/strong><\/div><\/div><\/div><\/div>"}},"total_comments":0,"related_articles":[{"id":347155,"title":"Presentan los Lentes Anam\u00f3rficos STATERA Full-Frame+ de Old Fast Glass y Ancient Optics","url":"https:\/\/staging.cined.dev\/es\/statera-full-frame-anamorphic-primes-by-old-fast-glass-and-ancient-optics-introduced\/","author":9439,"author_details":{"display_name":"Jose Prada","first_name":"Jose","last_name":"Prada"},"publish_date":"July, 11 2024","feature_image_url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/07\/statera-lenses-announced-featured.jpg","images":[{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/07\/statera-lenses-announced-featured-1024x550.jpg","width":1024,"height":550,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/07\/statera-lenses-announced-featured-370x230.jpg","width":370,"height":230,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/07\/statera-lenses-announced-featured-740x460.jpg","width":740,"height":460,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/07\/statera-lenses-announced-featured-770x440.jpg","width":770,"height":440,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/07\/statera-lenses-announced-featured-385x220.jpg","width":385,"height":220,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/07\/statera-lenses-announced-featured-1300x750.jpg","width":1300,"height":750,"type":"featured"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/07\/statera-lenses-announced-featured-1600x900.jpg","width":1600,"height":900,"type":"featured"}],"categories":[{"id":42290,"name":"Noticias","link":"https:\/\/staging.cined.dev\/es\/noticias\/","slug":"noticias"},{"id":42296,"name":"Lentes","link":"https:\/\/staging.cined.dev\/es\/noticias\/lentes\/","slug":"lentes"}],"custom_labels":[{"id":52841,"name":"Lens News","link":"https:\/\/staging.cined.dev\/es\/labels\/lens-news-es\/","slug":"lens-news-es"}],"total_comments":0,"video_url":""},{"id":338793,"title":"Visita a la F\u00e1brica de SIRUI - Mira C\u00f3mo se Fabrican sus Lentes Sniper y Saturn","url":"https:\/\/staging.cined.dev\/es\/sirui-factory-tour-see-how-your-sniper-and-saturn-lenses-are-being-made\/","author":7,"author_details":{"display_name":"Johnnie Behiri","first_name":"Johnnie","last_name":"Behiri"},"publish_date":"May, 03 2024","feature_image_url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/05\/SIRUI-Factory-Tour-Feature-Image-3480x2160-1.jpg","images":[{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/05\/SIRUI-Factory-Tour-Feature-Image-3480x2160-1-1024x550.jpg","width":1024,"height":550,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/05\/SIRUI-Factory-Tour-Feature-Image-3480x2160-1-370x230.jpg","width":370,"height":230,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/05\/SIRUI-Factory-Tour-Feature-Image-3480x2160-1-740x460.jpg","width":740,"height":460,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/05\/SIRUI-Factory-Tour-Feature-Image-3480x2160-1-770x440.jpg","width":770,"height":440,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/05\/SIRUI-Factory-Tour-Feature-Image-3480x2160-1-385x220.jpg","width":385,"height":220,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/05\/SIRUI-Factory-Tour-Feature-Image-3480x2160-1-1300x750.jpg","width":1300,"height":750,"type":"featured"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/05\/SIRUI-Factory-Tour-Feature-Image-3480x2160-1-1600x900.jpg","width":1600,"height":900,"type":"featured"}],"categories":[{"id":42280,"name":"Industria","link":"https:\/\/staging.cined.dev\/es\/noticias\/industria\/","slug":"industria"},{"id":42290,"name":"Noticias","link":"https:\/\/staging.cined.dev\/es\/noticias\/","slug":"noticias"}],"custom_labels":[{"id":70506,"name":"Factory Tour","link":"https:\/\/staging.cined.dev\/es\/labels\/factory-tour-es\/","slug":"factory-tour-es"}],"total_comments":0,"video_url":" https:\/\/youtu.be\/oiXO8__VFks"},{"id":334437,"title":"Anuncian los Lentes Anam\u00f3rficos DZOFILM PAVO 2x - Macro 65mm, 135mm y 180mm","url":"https:\/\/staging.cined.dev\/es\/dzofilm-pavo-2x-anamorphic-lenses-announced-macro-65mm-135mm-and-180mm\/","author":40219,"author_details":{"display_name":"Omri Keren Lapidot","first_name":"Omri","last_name":"Keren Lapidot"},"publish_date":"April, 12 2024","feature_image_url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/04\/PAVO_65-135-180mm_2024.3.04.jpg","images":[{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/04\/PAVO_65-135-180mm_2024.3.04-1024x550.jpg","width":1024,"height":550,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/04\/PAVO_65-135-180mm_2024.3.04-370x230.jpg","width":370,"height":230,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/04\/PAVO_65-135-180mm_2024.3.04-740x460.jpg","width":740,"height":460,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/04\/PAVO_65-135-180mm_2024.3.04-770x440.jpg","width":770,"height":440,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/04\/PAVO_65-135-180mm_2024.3.04-385x220.jpg","width":385,"height":220,"type":"thumbnail"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/04\/PAVO_65-135-180mm_2024.3.04-1300x750.jpg","width":1300,"height":750,"type":"featured"},{"url":"https:\/\/staging.cined.dev\/content\/uploads\/2024\/04\/PAVO_65-135-180mm_2024.3.04-1600x900.jpg","width":1600,"height":900,"type":"featured"}],"categories":[{"id":42290,"name":"Noticias","link":"https:\/\/staging.cined.dev\/es\/noticias\/","slug":"noticias"},{"id":42296,"name":"Lentes","link":"https:\/\/staging.cined.dev\/es\/noticias\/lentes\/","slug":"lentes"}],"custom_labels":[{"id":52841,"name":"Lens News","link":"https:\/\/staging.cined.dev\/es\/labels\/lens-news-es\/","slug":"lens-news-es"}],"total_comments":0,"video_url":""}],"url":"https:\/\/staging.cined.dev\/es\/anamorphic-shooting-ideal-sensor-size\/","author_details":{"display_name":"Tito Ferradans","first_name":"Tito","last_name":"Ferradans","avatar":"https:\/\/www.cined.com\/content\/themes\/cinemad\/assets\/images\/default-avatar.png"},"show_author":true,"cached":true,"likes":1,"_links":{"self":[{"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/posts\/117120","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/users\/15446"}],"replies":[{"embeddable":true,"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/comments?post=117120"}],"version-history":[{"count":3,"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/posts\/117120\/revisions"}],"predecessor-version":[{"id":117123,"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/posts\/117120\/revisions\/117123"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/media\/117130"}],"wp:attachment":[{"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/media?parent=117120"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/categories?post=117120"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/tags?post=117120"},{"taxonomy":"tag_label","embeddable":true,"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/tag_label?post=117120"},{"taxonomy":"brand","embeddable":true,"href":"https:\/\/staging.cined.dev\/es\/wp-json\/wp\/v2\/brand?post=117120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}