Rudolf

It is rather funny and a good amusement that these discussions are popping up again and again. At least every time when there is a new cheap solution. And in the meantime we had so many "game changers" that I already forgot the name of the game. Thank you Tito, for sharing your experiences. Tinkering with that kinda stuff is also a good amusement for many people: Adding inserts, filters, grease on the glass and even bigger bumper stickers "super-duper-anamorphic". Sorry didn't want to be offensive. This Siriu seems to bit a show off lens compared to what it does. These Suriu, FM lens, SLR, Vazen, Bolex-System Möller, Isco-Göttingen, Century, Optex, Pana LA7200, bla bla bla they are all toys and we like to play. It should be mentioned though that Isco had the longest experience in anamorphics and developed the most versatile best all around system. They put in the biggest effort. They offered everything the photographer (development on special paper) needed as well as for the small gauge shooter. Including solutions for cameras an projectors. Their program included trips and workshops. It was addressed to the wealthy enthusiast. Looking at old price list the prices were always very high. Throughout the range quality was incredible. My Isco-LeitzCinegon combo is the sharpest you can get for super-8. They made special stuff for Beaulieu. Schneider Optivaron with the 54 is a dream. And you know the good diopters Tito.
That all was not enough! You know how the Iscorama-dream ended. As so often the quality was too pricey.
To sum it up: There is no evolution/revolution! It is just getting cheaper because of chinese production and inferior quality. But that is for sure ok! Diversity is good. And if you shoot in 4k, 8k or whatever... who cares. But when Caleb shoots 16mm he needs something proper as he mentioned. 
And keep in mind: Some day you could be in need of other focal lengths. And then the price advantage will decrease as you have to buy more lenses.
So a maybe not so cheap adapter could be the toy of your life. 
But for many it is the search, the hunt and the tinkering what it is all about. 
I like good movies. I think 99% don't care if their favorite movies are shot spherical or whatever. But it is a difference if you project a "real" movie in anamorphic.
I like your work Tito!!! ? 

Wow, too many things to address. This forum is getting fun again! Thank you so much for all the input and keeping the argument civil (we have all seen how these conversations can go).
I can't disagree with you on everything. If you're here on EOSHD and you have an opinion, you're not a vanilla shooter. ?
After too many years of shooting with adapters, what I look for in a lens is not really the end result but a framework that supports improvement. The Sirui has it (so does the Iscorama). Last night I slapped in an oval insert at the aperture and made bokeh 2x. It got a lot better. Then threw in some focus and iris gears just for the fun of it and some filtration.
The image is on the sharp side, so I mounted a vari-nd (since I don't want the ovals to change with the aperture) and a BPM 1/4.
Things got more interesting when I put on a 0.8x wide angle adapter, which works great and degrades sharpness a bit more. The image is looking a lot more organic and that's what I wanna show on my next video.
Now to beat down the Iscorama a little bit more, 1.5x is not that much squeeze either for bokeh, plus minimum focus at 2m and rotating front/extending body make life a lot harder. It's not a perfect lens from the start. The pre-36 also has that weird box-shaped flare. Nonetheless we have solutions for most of these problems. The Maxiscope/Proxiscope addresses minimum focus and focus gears, plus mounting to rails to speed up lens changes, the newest Van Diemen rehousing fixes the rotating front and the long focus throw, another mod fixes the box flares. But still, paying $2k (cheap!) for it only puts you at the bottom of a hill to climb and make it "perfect" (lots of airquotes here). It also only goes as wide as 40mm on FF and no one fixed that one yet. hehe
I agree with this too. I'm drafting a new series of videos for next year, focused more on the anamorphic feel than the gear itself and the cornerstone aspect of it is that by embracing scope we're embracing artifacts and losses in IQ. That's what we want. Fortunately, if a lens is sharp there are plenty of tools to unsharpen it. The other way around is a bit trickier.
You can always blur a focused shot, but you can't recover one that was shot out of focus. ? 
Bringing this lens to the indie people is what makes the difference. Anamorphic has always been the snob aspect of cinematography and I strongly disagree with "this is expensive to keep the masses out". That's the core thought that got us in bad shape about... everything in history.
As for preferences, we shouldn't dismiss someone else's style just because it's not what we are trying to do. (Unless that person is the owner of The Anamorphic Store. In that case, dismiss them immediately. Ripoff)
This is EXACTLY my point in this whole thing. Some people might not like it (I still don't like Blackmagic Cameras very much), but it's important to acknowledge their importance in the grand scheme of things. This lens is an evolution of a movement that I'd say SLR Magic started, by manufacturing new, cheap anamorphics. That improved with the GH4's anamorphic mode and it took a sharp turn up when Atlas came into the game. Vazen is also part of it, and Sirui brings this into the hands of people who couldn't afford any of the previous options. Competition is the only way to make anamorphic cheap and I'm super glad to see it happening. I hope we soon see other focal lengths or other brands jumping onto this train.

Oh yes please... I want that cinematic-filmic-sci-fi-look for cheap. I want my footage look professional. Especially sun rays shining through leaves. And ordinary people downtown (in slow-motion of course). Add some musicians work and I am good to go! Looking forward to show "my work" on YT.

Indeed Ian. This taking lens (Zeiss Contax G45/2) is now glued on my Bolex. Love the sharpness and contrast. 

I also like to mount this anamorphic lens and take photos vertically.  So just looks as normal, not widescreen. ?
1. F1.8
2. F5.6 (to get good flare, need to use small aperture)
 

My best footage I filmed in North Carolina from 2015-2019.
I shot on a GH4 and the GH5 in 4k with the scenery setting. I filmed 1.75x in 16:9 and 4:3 and 1.5x in 16:9
Anamorphic Lens used :
1. Baby Hypergonar 1.75x
2. Bolex 8/19 1.5x anamorphot
3. Bolex 16/32 1.5x anamorphot
Taking lens:
Voigtlander 40mm f2, Schneider-Kreuznach 50mm f/1.9 Xenon, Olympus Zuiko Pen 38mm f/1.8, Schneider Xenoplan 28mm f2, and a MeVis 35mm f1.6
Variable diopters used:
1. Rectilux 3FF-S
2. Proto DNA
3. Focuser 8

I also used a Tokina +0.4 Achromatic, Fujinon +0.7 and a Narumi +3 diopter for close up shots.
If there is a shot you like let me know and I will tell you the combo. Cheers!
 

Elmo II is top notch. Elmo built some very advanced projectors and good cameras. They were and are still used by pros. Tito just had a poor example for his test. For the looke I like Moeller even more but sadly the rear is smaller. Moeller is king! Had them all and sold them. I am an idiot...

Remember when the trend was to leave Alexa footage all milky/washed out - it was like they used LOG, couldn't make a grading decision & so just left it (or that's how it seemed). And here we have someone who has actually put some contrast/colour into his images & people call foul - it's a real shame & a very boring position to take. Would hate to see the comments if these people ever watched an old Film Noir....
Yes, the OP is correct - this piece doesn't look like video. Really thought you'd nailed it with the shot when the woman is moving in front of the shops.
The only comment would be that there is a slight colouring inconsistency between the wide & the close up shots with the opening dancing sequence (the close ups are slightly less contrasty, but not much).

Great video deezid! This video is so good in so many ways that is surprising that the first thing that cross the mind of some ppl is that "the blacks are crushed". If thats the first thing that someone wants to say about this video its says more about "you" than the maker (or the piece). Even if i think that the blacks should be "less crushed" (wich i also do, but thats not the point) thats the last thing i think after i saw i video like this. But hey....thats me.

I doubt anyone watching this on youtube is going to care if the shadows are crushed ?
The deep shadows were an aesthetic choice right ?

I think you achieved that look, some very beautiful stuff!
Aside from stylistically not having a problem with the alleged "crushed" shadows, I didn't see any problems compositionally/graphically with that either. Bear in mind that I only watched the concept trailer once, but I didn't come across a moment where I felt like I needed more information in the shadows to tell me more. We decide what we want to show, and what we want to conceal. To all the people that think you needed to show more "information in the shadows", would it be preferred to shoot the entire film with a fisheye to give the most information that way too? Maybe just do it in VR? Do a grid system to show multiple takes at the same time? Then we can have all the information !!!
On a serious note though, hope the concept trailer gets you and your team the feature, it looks promising!

I have tested a lot of the popular anamorphics (except Lomo). I sold them all and only kept the most versatile and easy to us Isco pre 36 and 54. I still have the baby Moeller for the most beautiful image and it is also easy to use (you can pull focus with some practice). Regarding Kowas and Elmoscope I think they have to be considered as the best projection lenses and that is how I use them (Elmoscope II). Last but not least: Sharpness is overrated  

Hello. I recently purchased a pre-36 from a user on here, and used it for a project; a promo for an arts fair, held on the kubrick estate every year.
 
 Hope you like it !

I think, framing, shot design and lenswork is superbly well done from 1.40 on! Really great job, A+ rating.
Before that it does not have that quality, neither regarding framing nor rhythm nor shotdesign, lighting the least:). But from 1.40  really beautifully shot, with true talent and skill. Also showing of the lens very nicely as well

All these examples have been great and inspired me to get a compact 40 for my newly acquired GH5.  I also noticed another film on YouTube using the Samyang 21 & 50 cine lenses. I really like the feel of these lenses anyway but combined with the anamorphot they look like another great combo.
 
 
 
What are the settings in the GH5 for the Anamorphot? Please be patient with me as I'm extremely new to this format (although I have used Moondogs on my iPhone and iPad). I realise the Anamorphic setting needs to be off but what are the key changes to set up to film with? I will be doing a lot of interviews for a future documentary on English education and so light won't be a problem.

Ok, understood: You are never too old to do your home lessons... Thanks! On the other hand we are not talking about big money here... BTW I have learnt something new: Never heard FUD... And big thanks for your research. Those test footage looks really artificial and blurry. I still love old school ergonomics over software. I am an old man 

Ok, understood: You are never too old to do your home lessons... Thanks! On the other hand we are not talking about big money here... BTW I have learnt something new: Never heard FUD... And big thanks for your research. Those test footage looks really artificial and blurry. I still love old school ergonomics over software. I am an old man 

Alert!
A lot of the footage looks suspicious. Of the very few videos on vimeo, you can see some obvious fakes. In one of them the stabilized footage has a wider FOV than the shaky footage. Not nice. So, alert!

A waterproof gimbal? Haha

I've collected a few gems from Facebook:

Hi Milton  Nice shots and once again a very nice example for the beauty of vintage glass! Congrats to your tiny sweet YashicaScope! Why buy boring overpriced knew projection lenses? They are only great for projection!

Here is my first test with my run and gun anamorphic set up. 
Shot on a GH4 in 4k with natural profile.
Lens used were Baby Hypergonar anamorphic + LINOS MeVis-C 35mm F1.6 Most of it shot at f1.6 or f2.8
Rectilux Core DNA with +0.6 diopter on close ups.
No sharping or noise reduction.. I hope you like. The images at the end I really love. The Rectilux is a dream but you diopters to get sharp below 2 feet.
 

Thank you very much for the invitation Ian and rest assured: I WILL! There are much too many grey days nowadays ;-)
 

so beautiful and heartwarming on a cold, rainy and grey day here in Hamburg (northern hemisphere ;-) ) Thank you very much for posting!