Preview – Anamorphic goes medium format with Fuji GFX 100 and a look at the Leica SL2 5K 4:3 mode

This will be a short introduction before I get down to shooting with the beasts you see above.

On the left we have the Leica SL2, which features a 5K anamorphic mode (4:3 aspect ratio) that records in 10bit LOG format.

On the right we have the Fujifilm GFX 100 which is my first medium format camera that has been useful for cinema. However one ingredient has been missing with medium format and that is anamorphic!

Read morePreview – Anamorphic goes medium format with Fuji GFX 100 and a look at the Leica SL2 5K 4:3 mode

SLR Magic Rangefinder footage – Kowa anamorphic goes single focus

I have been out shooting with the SLR Magic Rangefinder.

Key features:

  • It completely takes over focus from any lens
  • Solves lens breathing (reduces to such low level it isn’t noticeable)
  • Adds cinema standard 240 degrees focus ring with FF gearing and hard stops
  • Reduces minimum focus distance of all anamorphic lenses to 1m (even long-throw projector lenses)

For those who shoot anamorphic especially this will be music to your ears. These shooters will also be familiar with diopters, which are used to correct aberrations and achieve very close focus. Effectively the SLR Magic Rangefinder is a variable diopter and thus a rather brilliant concept as it is capable of taking over focus from the taking lens entirely from 1m (3ft 6″) to infinity.

Read moreSLR Magic Rangefinder footage – Kowa anamorphic goes single focus

SLR Magic Anamorphic 2x on the Panasonic GH4 (4:3)

At Photokina 2014 I gave my first impressions of the prototype SLR Magic Anamorphic 2x on the GH4. Now I have a newer version of the lens with me in Berlin to see how it compares to my other anamorphic lenses.

Unlike the previous SLR Magic Anamorphot 1.33x, this is a 2:1 anamorphic, which is the cinema standard (and the look that goes with it).

Read moreSLR Magic Anamorphic 2x on the Panasonic GH4 (4:3)

SLR Magic 2x Anamorphic – my footage and first impressions

What informs the film look? Of all the technical aspects that do, I think it comes down to three key ingredients. 24p, a wide dynamic range and a 2x anamorphic lens. I and many other filmmakers chase that look. Well, I’ve just returned from Photokina in Cologne, Germany with a surprise. 2 years on from my first visit to SLR Magic at Photokina in 2012, they are back with a 2x anamorphic lens in 2014.

This lens has the potential to revolutionise the consumer market for cinema-standard anamorphic.

Read moreSLR Magic 2x Anamorphic – my footage and first impressions

Anamorphic sample footage shot with the SLR Magic Anamorphot – and which lenses go best with it?

(The anamorphic footage starts around 10 seconds in)

The new SLR Magic Anamorphot 50 jointly developed with the help of EOSHD is here in it’s final non-prototype form and I’ve shot the above video with it (Sony FS100). This should give you an idea of how the flare moves around during a shot and the general anamorphic aesthetic you are able to get with the adapter.

Also part of the fun of the adapter is that like the Iscorama it sings with certain lenses, which all have a different look. I’ve been trying it out with a bunch of them…

Read moreAnamorphic sample footage shot with the SLR Magic Anamorphot – and which lenses go best with it?

On test – the final SLR Magic Anamorphot 50 x 1.33

SLR Magic Anamorphot 50 1.33

View 10 frames from a rehearsal shoot with Bunny Suit, a Berlin based band I’m currently working with on a music video

Disclosure: I have worked closely with SLR Magic in refining the flare and have a close relationship with SLR Magic, but I am approaching the lens objectively in my articles.

It’s here! The finished lens.

Read moreOn test – the final SLR Magic Anamorphot 50 x 1.33