{"id":199634,"date":"2021-08-15T16:20:18","date_gmt":"2021-08-15T14:20:18","guid":{"rendered":"https:\/\/www.cined.com\/anamorphic-lenses-attachments-and-adapters-battle-media-division-scope-chapter-two\/"},"modified":"2021-08-16T17:02:07","modified_gmt":"2021-08-16T15:02:07","slug":"anamorphic-lenses-attachments-and-adapters-battle-media-division-scope-chapter-two","status":"publish","type":"post","link":"https:\/\/staging.cined.dev\/es\/anamorphic-lenses-attachments-and-adapters-battle-media-division-scope-chapter-two\/","title":{"rendered":"Batalla de lentes, accesorios y adaptadores anam\u00f3rficos \u2013 Media Division SCOPE: Cap\u00edtulo dos"},"content":{"rendered":"\n<p><strong>La batalla anam\u00f3rfica entre lentes de cine, accesorios y adaptadores de lentes anam\u00f3rficos es el foco principal del cap\u00edtulo dos de la saga Epic Episode SCOPE de Media Division. Despu\u00e9s del primer cap\u00edtulo en donde hablaron sobre los fundamentos te\u00f3ricos del rodaje anam\u00f3rfico, Nikolas Moldenhauer, el presentador de Media Division, nos lleva en un viaje de dos horas a trav\u00e9s de pruebas pr\u00e1cticas y mucho m\u00e1s.<\/strong><\/p>\n\n\n\n<p>En febrero de 2021, escrib\u00ed sobre un <a href=\"https:\/\/www.cined.com\/es\/anamorphic-lenses-in-cinema-media-division-scope-chapter-one\/\" target=\"_blank\" rel=\"noreferrer noopener\">nuevo Epic Episode SCOPE de Media Division<\/a>, en el cual Nikolas Moldenhauer abord\u00f3 el complejo tema de los lentes anam\u00f3rficos. Ya lo he dicho antes, pero cada vez que Media Division lanza un nuevo Epic Episode, el fan\u00e1tico de los equipos cinematogr\u00e1ficos que hay en m\u00ed se entusiasma mucho. Si bien MD suele publicar videos cortos, los episodios m\u00e1s largos se publican aproximadamente cada seis meses. La raz\u00f3n es simple: hay una incre\u00edble cantidad de horas dedicadas a la creaci\u00f3n de cada uno de ellos. Hace unos d\u00edas atr\u00e1s, Nikolas public\u00f3 el segundo cap\u00edtulo de SCOPE que trata sobre pruebas pr\u00e1cticas de lentes anam\u00f3rficos, accesorios y adaptadores. Vamos a echarle un vistazo.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Scope: Cap\u00edtulo dos &#8211; la batalla anam\u00f3rfica<\/h2>\n\n\n<!-- wp:embed\/video -->\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"SCOPE Chapter Two \u2013 The anamorphic battle \u2013 Cine Lenses, Attachments &amp; Adapters \u2013  Epic Episode #16\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/YT_MupZp5v4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<script type=\"application\/ld+json\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@type\":\"VideoObject\",\"name\":\"Batalla de lentes, accesorios y adaptadores anam\\u00f3rficos \\u2013 Media Division SCOPE: Cap\\u00edtulo dos\",\"description\":\"Batalla de lentes, accesorios y adaptadores anam\\u00f3rficos \\u2013 Media Division SCOPE: Cap\\u00edtulo dos\",\"contentUrl\":\"https:\\\/\\\/www.youtube.com\\\/watch?v=YT_MupZp5v4\",\"thumbnailUrl\":\"https:\\\/\\\/img.youtube.com\\\/vi\\\/YT_MupZp5v4\\\/mqdefault.jpg\",\"uploadDate\":\"2021-08-15T16:20:18+02:00\"}<\/script><!-- \/wp:embed\/video -->\n\n\n<p>El video de casi dos horas de duraci\u00f3n comienza con otra parodia de Blade Runner. Tengo que admitir que Nikolas se ha vuelto realmente bueno con esto y, dejando de lado una ligera discrepancia entre el audio original de Harisson Ford y el audio de Nikolas, hace que sea realmente cre\u00edble que actu\u00f3 en la pel\u00edcula de Ridley Scott. Al igual que en el primer cap\u00edtulo, este video se divide en varias partes para que los espectadores puedan navegar f\u00e1cilmente a trav\u00e9s de \u00e9l.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"264\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-640x264.jpg\" alt=\"\" class=\"wp-image-199347\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-640x264.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-300x124.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-768x317.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-1536x634.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-558x230.jpg 558w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Parodia de Blade Runner. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<p>El t\u00edtulo de la primera parte es \u201cCaminos hacia una imagen anam\u00f3rfica\u201d y all\u00ed Nikolas explica un poco la situaci\u00f3n en el mercado de lentes de cine anam\u00f3rficos como Panavision, Hawk, Zeiss o Cooke. Si bien algunos fabricantes deciden alquilar los lentes de manera directa, venderlos a casas de alquiler seleccionadas u ofrecerlos al p\u00fablico de forma directo, de cualquier modo el precio de los lentes anam\u00f3rficos es mucho m\u00e1s alto que la mayor\u00eda de los lentes de cine esf\u00e9ricos. Adem\u00e1s, Nikolas habla sobre las diferentes relaciones de aspecto, resoluciones, factores de compresi\u00f3n y qu\u00e9 sensores de c\u00e1mara son los m\u00e1s adecuados para el rodaje anam\u00f3rfico. La primera parte tambi\u00e9n sienta las bases para los m\u00e9todos de prueba que se incluyen en la segunda parte.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Probando las configuraciones anam\u00f3rficas<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"360\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-adapter-640x360.jpg\" alt=\"\" class=\"wp-image-199338\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-1600x900.jpg 1600w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Adaptador anam\u00f3rfico combinado con un lente vintage. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<p>La segunda parte ocupa la mayor parte del video y se trata de probar diferentes configuraciones anam\u00f3rficas. Nikolas utiliz\u00f3 m\u00e1s escenas para probar las capacidades de cada soluci\u00f3n en particular: enfoque cercano, nitidez, distorsi\u00f3n en los bordes, etc. El caballero con armadura (el esgrimista Dierk Hagedorn) que aparece en una escena de estudio del primer cap\u00edtulo tambi\u00e9n est\u00e1 presente aqu\u00ed. Con la ayuda del <a href=\"https:\/\/www.themarmalade.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">estudio de producci\u00f3n Marmalade<\/a> y sus dos brazos rob\u00f3ticos, Nikolas pudo grabar el mismo movimiento para cada configuraci\u00f3n anam\u00f3rfica que prob\u00f3. En cuanto a los lentes de cine anam\u00f3rficos, puso a prueba las siguientes piezas:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>P+S Kowa Evolution 50mm<\/li><li>Lomo Squarefront 50mm<\/li><li>Atlas Orion 80mm<\/li><li>Atlas Orion 40mm<\/li><\/ul>\n\n\n\n<p>Adem\u00e1s, hay un segmento completo sobre los <a href=\"https:\/\/atlaslensco.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">lentes Atlas Orion<\/a>, incluyendo una entrevista con los creadores de los lentes, Forrest Schultz y Dan Kanes, sobre el dise\u00f1o de los lentes prime anam\u00f3rficos asequibles. En caso de que no lo hayas hecho a\u00fan, puedes consultar <a href=\"https:\/\/www.cined.com\/es\/atlas-orion-lens-field-test-anamorphic-for-all\/\" target=\"_blank\" rel=\"noreferrer noopener\">nuestra rese\u00f1a del Atlas Orion de 40mm aqu\u00ed<\/a>. Otro segmento interesante trata sobre la comparaci\u00f3n de los antiguos lentes Bausch&amp;Lomb Cinescope Baltar y los nuevos Atlas Orion.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"261\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-640x261.jpg\" alt=\"\" class=\"wp-image-199341\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-640x261.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-300x123.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-768x314.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-1536x627.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-563x230.jpg 563w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-370x150.jpg 370w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Probando el enfoque cercano del Atlas Orion 80mm. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<p>Las pr\u00f3ximas soluciones anam\u00f3rficas de las que habl\u00f3 en el video son los accesorios de proyecci\u00f3n anam\u00f3rficos. En este caso, Nikolas habla sobre los posibles inconvenientes que pueden surgir al usar estos accesorios que no est\u00e1n dise\u00f1ados para la adquisici\u00f3n de im\u00e1genes, y menciona posibles soluciones ante estos problemas. Para realizar esta secci\u00f3n, puso a prueba los siguientes accesorios:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>ISCO Ultra Star Red<\/li><li>H. Chretien Hypergonar 16<\/li><li>H. Chretien Hypergonar 35<\/li><li>Bell&amp;Howell<\/li><li>Kowa 8z<\/li><\/ul>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"360\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-640x360.jpg\" alt=\"\" class=\"wp-image-199344\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-1600x900.jpg 1600w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Para muchos accesorios anam\u00f3rficos los soportes de los rieles son vitales. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<p>Luego, prob\u00f3 los accesorios en combinaci\u00f3n con diferentes lentes vintage con todo tipo de adaptadores y soluciones DYI. El \u00faltimo grupo de accesorios anam\u00f3rficos que mencion\u00f3 son los adaptadores anam\u00f3rficos. Estos funcionan de manera similar a los accesorios de proyecci\u00f3n anam\u00f3rficos, pero generalmente son m\u00e1s pr\u00e1cticos para grabar. Prob\u00f3 los siguientes adaptadores:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>SLR Magic Anamorphot 1.33x 50<\/li><li>Letus Anamorph-X 1.33x<\/li><li>Panasonic LA7200<\/li><\/ul>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"360\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-double-focus-640x360.jpg\" alt=\"\" class=\"wp-image-199353\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-1600x900.jpg 1600w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>El problema del doble enfoque que surge con los adaptadores y accesorios de lentes. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<p>En el siguiente segmento, Nikolas compar\u00f3 diferentes soluciones entre s\u00ed, tratando de demostrar que para ciertos escenarios incluso un adaptador asequible puede crear el look que deseas. Sin embargo, para una producci\u00f3n anam\u00f3rfica de ritmo r\u00e1pido en un set, recomienda trabajar siempre con un lente de cine porque es mucho m\u00e1s sencillo de utilizar, especialmente en lo que respecta al enfoque. La mayor\u00eda de los adaptadores y accesorios requieren un enfoque dual (tanto en el lente como en el adaptador), lo que dificulta mucho el tiro de foco y complica cualquier flujo de trabajo.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-comparison.jpg\" alt=\"\" class=\"wp-image-199350\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison.jpg 1920w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-1600x900.jpg 1600w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \/><figcaption>Comparaci\u00f3n de las im\u00e1genes obtenidas con diferentes soluciones anam\u00f3rficas. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">M\u00e1s all\u00e1 del anam\u00f3rfico normal<\/h2>\n\n\n\n<p>En la tercera parte, escuchamos algunas palabras de <a href=\"https:\/\/tferradans.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Tito Ferradans<\/a>, quien tiene mucho conocimiento y experiencia en cuanto al rodaje anam\u00f3rfico con un presupuesto limitado. Nikolas tambi\u00e9n muestra algunas formas creativas e inusuales de usar los lentes anam\u00f3rficos, por ejemplo, gir\u00e1ndolos para lograr un look especial. Por \u00faltimo, pero no por ello menos importante, hay un segmento sobre fotograf\u00eda anam\u00f3rfica con <a href=\"https:\/\/www.dicksweeney.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Dick Sweeney<\/a>.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"269\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-640x269.jpg\" alt=\"\" class=\"wp-image-199359\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-640x269.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-300x126.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-768x323.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-1536x646.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-546x230.jpg 546w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney.jpg 1896w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Fotograf\u00eda anam\u00f3rfica. Cr\u00e9dito de imagen: Dick Sweeney<\/figcaption><\/figure>\n\n\n\n<p>Ya estoy esperando el tercer cap\u00edtulo de SCOPE que incluir\u00e1 algunos ejemplos pr\u00e1cticos, modificaci\u00f3n de lentes, eliminaci\u00f3n de recubrimientos y mucho m\u00e1s. Si te gusta el contenido de <a href=\"https:\/\/www.youtube.com\/channel\/UCPf67c3vUrFlNOERwjHyR2w\" target=\"_blank\" rel=\"noreferrer noopener\">Media Division<\/a>, puedes convertirte en miembro y apoyar la creaci\u00f3n de futuros episodios. Creo que el potencial educativo de estos Epic Episodes es enorme.<\/p>\n\n\n\n<p><strong>\u00bfSueles grabar en anam\u00f3rfico? \u00bfQu\u00e9 tipo de soluci\u00f3n utilizas? \u00bfQu\u00e9 opinas de los videos SCOPE de Media Division? Cu\u00e9ntanos en la secci\u00f3n de comentarios debajo del art\u00edculo.<\/strong><\/p>\n<199634-main-buylinks\/>","protected":false,"clean_render":"<p><strong>La batalla anam\u00f3rfica entre lentes de cine, accesorios y adaptadores de lentes anam\u00f3rficos es el foco principal del cap\u00edtulo dos de la saga Epic Episode SCOPE de Media Division. Despu\u00e9s del primer cap\u00edtulo en donde hablaron sobre los fundamentos te\u00f3ricos del rodaje anam\u00f3rfico, Nikolas Moldenhauer, el presentador de Media Division, nos lleva en un viaje de dos horas a trav\u00e9s de pruebas pr\u00e1cticas y mucho m\u00e1s.<\/strong><\/p>\n\n\n\n<p>En febrero de 2021, escrib\u00ed sobre un <a href=\"https:\/\/www.cined.com\/es\/anamorphic-lenses-in-cinema-media-division-scope-chapter-one\/\" target=\"_blank\" rel=\"noreferrer noopener\">nuevo Epic Episode SCOPE de Media Division<\/a>, en el cual Nikolas Moldenhauer abord\u00f3 el complejo tema de los lentes anam\u00f3rficos. Ya lo he dicho antes, pero cada vez que Media Division lanza un nuevo Epic Episode, el fan\u00e1tico de los equipos cinematogr\u00e1ficos que hay en m\u00ed se entusiasma mucho. Si bien MD suele publicar videos cortos, los episodios m\u00e1s largos se publican aproximadamente cada seis meses. La raz\u00f3n es simple: hay una incre\u00edble cantidad de horas dedicadas a la creaci\u00f3n de cada uno de ellos. Hace unos d\u00edas atr\u00e1s, Nikolas public\u00f3 el segundo cap\u00edtulo de SCOPE que trata sobre pruebas pr\u00e1cticas de lentes anam\u00f3rficos, accesorios y adaptadores. Vamos a echarle un vistazo.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Scope: Cap\u00edtulo dos &#8211; la batalla anam\u00f3rfica<\/h2>\n\n\n<!-- wp:embed\/video -->\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"SCOPE Chapter Two \u2013 The anamorphic battle \u2013 Cine Lenses, Attachments &amp; Adapters \u2013  Epic Episode #16\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/YT_MupZp5v4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<script type=\"application\/ld+json\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@type\":\"VideoObject\",\"name\":\"Batalla de lentes, accesorios y adaptadores anam\\u00f3rficos \\u2013 Media Division SCOPE: Cap\\u00edtulo dos\",\"description\":\"Batalla de lentes, accesorios y adaptadores anam\\u00f3rficos \\u2013 Media Division SCOPE: Cap\\u00edtulo dos\",\"contentUrl\":\"https:\\\/\\\/www.youtube.com\\\/watch?v=YT_MupZp5v4\",\"thumbnailUrl\":\"https:\\\/\\\/img.youtube.com\\\/vi\\\/YT_MupZp5v4\\\/mqdefault.jpg\",\"uploadDate\":\"2021-08-15T16:20:18+02:00\"}<\/script><!-- \/wp:embed\/video -->\n\n\n<p>El video de casi dos horas de duraci\u00f3n comienza con otra parodia de Blade Runner. Tengo que admitir que Nikolas se ha vuelto realmente bueno con esto y, dejando de lado una ligera discrepancia entre el audio original de Harisson Ford y el audio de Nikolas, hace que sea realmente cre\u00edble que actu\u00f3 en la pel\u00edcula de Ridley Scott. Al igual que en el primer cap\u00edtulo, este video se divide en varias partes para que los espectadores puedan navegar f\u00e1cilmente a trav\u00e9s de \u00e9l.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"264\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-640x264.jpg\" alt=\"\" class=\"wp-image-199347\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-640x264.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-300x124.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-768x317.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-1536x634.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof-558x230.jpg 558w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-blade-runner-spoof.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Parodia de Blade Runner. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<p>El t\u00edtulo de la primera parte es \u201cCaminos hacia una imagen anam\u00f3rfica\u201d y all\u00ed Nikolas explica un poco la situaci\u00f3n en el mercado de lentes de cine anam\u00f3rficos como Panavision, Hawk, Zeiss o Cooke. Si bien algunos fabricantes deciden alquilar los lentes de manera directa, venderlos a casas de alquiler seleccionadas u ofrecerlos al p\u00fablico de forma directo, de cualquier modo el precio de los lentes anam\u00f3rficos es mucho m\u00e1s alto que la mayor\u00eda de los lentes de cine esf\u00e9ricos. Adem\u00e1s, Nikolas habla sobre las diferentes relaciones de aspecto, resoluciones, factores de compresi\u00f3n y qu\u00e9 sensores de c\u00e1mara son los m\u00e1s adecuados para el rodaje anam\u00f3rfico. La primera parte tambi\u00e9n sienta las bases para los m\u00e9todos de prueba que se incluyen en la segunda parte.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Probando las configuraciones anam\u00f3rficas<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"360\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-adapter-640x360.jpg\" alt=\"\" class=\"wp-image-199338\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter-1600x900.jpg 1600w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-adapter.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Adaptador anam\u00f3rfico combinado con un lente vintage. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<p>La segunda parte ocupa la mayor parte del video y se trata de probar diferentes configuraciones anam\u00f3rficas. Nikolas utiliz\u00f3 m\u00e1s escenas para probar las capacidades de cada soluci\u00f3n en particular: enfoque cercano, nitidez, distorsi\u00f3n en los bordes, etc. El caballero con armadura (el esgrimista Dierk Hagedorn) que aparece en una escena de estudio del primer cap\u00edtulo tambi\u00e9n est\u00e1 presente aqu\u00ed. Con la ayuda del <a href=\"https:\/\/www.themarmalade.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">estudio de producci\u00f3n Marmalade<\/a> y sus dos brazos rob\u00f3ticos, Nikolas pudo grabar el mismo movimiento para cada configuraci\u00f3n anam\u00f3rfica que prob\u00f3. En cuanto a los lentes de cine anam\u00f3rficos, puso a prueba las siguientes piezas:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>P+S Kowa Evolution 50mm<\/li><li>Lomo Squarefront 50mm<\/li><li>Atlas Orion 80mm<\/li><li>Atlas Orion 40mm<\/li><\/ul>\n\n\n\n<p>Adem\u00e1s, hay un segmento completo sobre los <a href=\"https:\/\/atlaslensco.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">lentes Atlas Orion<\/a>, incluyendo una entrevista con los creadores de los lentes, Forrest Schultz y Dan Kanes, sobre el dise\u00f1o de los lentes prime anam\u00f3rficos asequibles. En caso de que no lo hayas hecho a\u00fan, puedes consultar <a href=\"https:\/\/www.cined.com\/es\/atlas-orion-lens-field-test-anamorphic-for-all\/\" target=\"_blank\" rel=\"noreferrer noopener\">nuestra rese\u00f1a del Atlas Orion de 40mm aqu\u00ed<\/a>. Otro segmento interesante trata sobre la comparaci\u00f3n de los antiguos lentes Bausch&amp;Lomb Cinescope Baltar y los nuevos Atlas Orion.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"261\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-640x261.jpg\" alt=\"\" class=\"wp-image-199341\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-640x261.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-300x123.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-768x314.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-1536x627.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-563x230.jpg 563w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample-370x150.jpg 370w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-atlas-80mm-sample.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Probando el enfoque cercano del Atlas Orion 80mm. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<p>Las pr\u00f3ximas soluciones anam\u00f3rficas de las que habl\u00f3 en el video son los accesorios de proyecci\u00f3n anam\u00f3rficos. En este caso, Nikolas habla sobre los posibles inconvenientes que pueden surgir al usar estos accesorios que no est\u00e1n dise\u00f1ados para la adquisici\u00f3n de im\u00e1genes, y menciona posibles soluciones ante estos problemas. Para realizar esta secci\u00f3n, puso a prueba los siguientes accesorios:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>ISCO Ultra Star Red<\/li><li>H. Chretien Hypergonar 16<\/li><li>H. Chretien Hypergonar 35<\/li><li>Bell&amp;Howell<\/li><li>Kowa 8z<\/li><\/ul>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"360\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-640x360.jpg\" alt=\"\" class=\"wp-image-199344\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging-1600x900.jpg 1600w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-attachment-rigging.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Para muchos accesorios anam\u00f3rficos los soportes de los rieles son vitales. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<p>Luego, prob\u00f3 los accesorios en combinaci\u00f3n con diferentes lentes vintage con todo tipo de adaptadores y soluciones DYI. El \u00faltimo grupo de accesorios anam\u00f3rficos que mencion\u00f3 son los adaptadores anam\u00f3rficos. Estos funcionan de manera similar a los accesorios de proyecci\u00f3n anam\u00f3rficos, pero generalmente son m\u00e1s pr\u00e1cticos para grabar. Prob\u00f3 los siguientes adaptadores:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>SLR Magic Anamorphot 1.33x 50<\/li><li>Letus Anamorph-X 1.33x<\/li><li>Panasonic LA7200<\/li><\/ul>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"360\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-double-focus-640x360.jpg\" alt=\"\" class=\"wp-image-199353\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus-1600x900.jpg 1600w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-double-focus.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>El problema del doble enfoque que surge con los adaptadores y accesorios de lentes. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<p>En el siguiente segmento, Nikolas compar\u00f3 diferentes soluciones entre s\u00ed, tratando de demostrar que para ciertos escenarios incluso un adaptador asequible puede crear el look que deseas. Sin embargo, para una producci\u00f3n anam\u00f3rfica de ritmo r\u00e1pido en un set, recomienda trabajar siempre con un lente de cine porque es mucho m\u00e1s sencillo de utilizar, especialmente en lo que respecta al enfoque. La mayor\u00eda de los adaptadores y accesorios requieren un enfoque dual (tanto en el lente como en el adaptador), lo que dificulta mucho el tiro de foco y complica cualquier flujo de trabajo.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-comparison.jpg\" alt=\"\" class=\"wp-image-199350\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison.jpg 1920w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-comparison-1600x900.jpg 1600w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \/><figcaption>Comparaci\u00f3n de las im\u00e1genes obtenidas con diferentes soluciones anam\u00f3rficas. Cr\u00e9dito de imagen: Media Division<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">M\u00e1s all\u00e1 del anam\u00f3rfico normal<\/h2>\n\n\n\n<p>En la tercera parte, escuchamos algunas palabras de <a href=\"https:\/\/tferradans.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Tito Ferradans<\/a>, quien tiene mucho conocimiento y experiencia en cuanto al rodaje anam\u00f3rfico con un presupuesto limitado. Nikolas tambi\u00e9n muestra algunas formas creativas e inusuales de usar los lentes anam\u00f3rficos, por ejemplo, gir\u00e1ndolos para lograr un look especial. Por \u00faltimo, pero no por ello menos importante, hay un segmento sobre fotograf\u00eda anam\u00f3rfica con <a href=\"https:\/\/www.dicksweeney.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Dick Sweeney<\/a>.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"269\" src=\"https:\/\/www.cined.com\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-640x269.jpg\" alt=\"\" class=\"wp-image-199359\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-640x269.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-300x126.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-768x323.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-1536x646.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney-546x230.jpg 546w, https:\/\/staging.cined.dev\/content\/uploads\/2021\/08\/SCOPE2-stills-dick-sweeney.jpg 1896w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Fotograf\u00eda anam\u00f3rfica. Cr\u00e9dito de imagen: Dick Sweeney<\/figcaption><\/figure>\n\n\n\n<p>Ya estoy esperando el tercer cap\u00edtulo de SCOPE que incluir\u00e1 algunos ejemplos pr\u00e1cticos, modificaci\u00f3n de lentes, eliminaci\u00f3n de recubrimientos y mucho m\u00e1s. Si te gusta el contenido de <a href=\"https:\/\/www.youtube.com\/channel\/UCPf67c3vUrFlNOERwjHyR2w\" target=\"_blank\" rel=\"noreferrer noopener\">Media Division<\/a>, puedes convertirte en miembro y apoyar la creaci\u00f3n de futuros episodios. Creo que el potencial educativo de estos Epic Episodes es enorme.<\/p>\n\n\n\n<p><strong>\u00bfSueles grabar en anam\u00f3rfico? \u00bfQu\u00e9 tipo de soluci\u00f3n utilizas? \u00bfQu\u00e9 opinas de los videos SCOPE de Media Division? Cu\u00e9ntanos en la secci\u00f3n de comentarios debajo del art\u00edculo.<\/strong><\/p>\n<199634-main-buylinks\/>"},"excerpt":{"rendered":"<p>La batalla anam\u00f3rfica entre lentes de cine, accesorios y adaptadores de lentes anam\u00f3rficos es el foco principal del cap\u00edtulo dos de la saga Epic Episode SCOPE de Media Division. Despu\u00e9s del primer cap\u00edtulo en donde hablaron sobre los fundamentos te\u00f3ricos del rodaje anam\u00f3rfico, Nikolas Moldenhauer, el presentador de Media Division, nos lleva en un viaje de dos horas a trav\u00e9s de pruebas pr\u00e1cticas y mucho m\u00e1s. En febrero de 2021, escrib\u00ed sobre un nuevo Epic Episode SCOPE de Media Division, en el cual Nikolas Moldenhauer abord\u00f3 el complejo tema de los lentes anam\u00f3rficos. Ya lo he dicho antes, pero cada vez que Media Division lanza un nuevo Epic Episode, el [&hellip;]<\/p>\n","protected":false},"author":12862,"featured_media":199358,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[{"id":42280,"name":"Industria","link":"https:\/\/staging.cined.dev\/es\/noticias\/industria\/","slug":"industria"}],"tags":[30144,60729,24271,33197,60730,24583,34026,60731,24584,34032,24613,36451,24837,39842,26017,39843,26161,39889,26718,30139,56266],"tag_label":[56227],"brand":[],"class_list":["post-199634","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-industria","tag-adaptador","tag-scope-es","tag-lens-es","tag-adaptadores-anamorficos","tag-contenido-educacional","tag-cine-lens-es","tag-youtube-creator-es","tag-batalla-de-lentes","tag-cinema-lens-es","tag-creador-de-youtube","tag-education-es","tag-educacion","tag-anamorphic-es","tag-media-division-es","tag-accesorios","tag-nikolas-moldenhauer-es","tag-lentes","tag-youtube-video-es","tag-lente-de-cine","tag-adapter-es","tag-educational-content-es","tag_label-education-es"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v20.10 (Yoast SEO v25.3) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Batalla de lentes, accesorios y adaptadores anam\u00f3rficos \u2013 Media Division SCOPE: Cap\u00edtulo dos | CineD<\/title>\n<meta name=\"description\" content=\"The battle of anamorphic lenses, attachments, and lens adapters is the focus of the new Epic Episode SCOPE Chapter two from Media Division.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/staging.cined.dev\/es\/anamorphic-lenses-attachments-and-adapters-battle-media-division-scope-chapter-two\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Batalla de lentes, accesorios y adaptadores anam\u00f3rficos \u2013 Media Division SCOPE: Cap\u00edtulo dos | CineD\" \/>\n<meta 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