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Andrew Reid

SLR Magic Anamorphot-50 officially announced

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Above: beautiful new film from Seb Farges shot with the SLR Magic Anamorphot on the Sony A7 and Olympus E-M5.

SLR Magic have officially announced the Anamorphot developed with feedback and technical assistance from EOSHD and the anamorphic community.

Read the full article here

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

Other than the flairs the video looks very videoish... maybe it's the taking lens that's causing it to look so bad, but based on this video, I wouldn't buy this lens. 

 

People's definition of video-ish is weird. Anything 30p or shot without an Alexa seems to be video-ish to some people. It is a judgement that has nothing to do with the lens or the content. Seb's video is great.

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So you mentioned something in this post that I had not noticed before.

 

  "the SLR Magic Anamorphot is best paired with a prime lens whose front element (not to be confused with its filter thread) is smaller than 50mm in diameter." 

 

  Does this mean that even if the front threads are larger than the 50-62mm range the lens could still be used with the Anamorphot-50? I have Canon L primes (currently) and I'm wondering if they will be a taking lens option at all because of the 72mm or 77mm front thread sizes being too large. I would assume vingetting would occur with any "stepping-down" from the front of the taking lens to the rear of the Amamorphot.

  Also, how does one tell what the measurment of the "front element" on a lens is?

 

Thanks for all the info, very excited about this product.

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really like seb's video (lens test).

nice to see something on your site with some sync sound (albeit topmic), for me it adds to the cinematic quality and further embraces the everyday with the sublime. perhaps more opinion than insight from a sound recordist. best of luck with the anamorphic endeavours.

 

d.

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People's definition of video-ish is weird. Anything 30p or shot without an Alexa seems to be video-ish to some people. It is a judgement that has nothing to do with the lens or the content. Seb's video is great.

Yes, the video is nice, but as for the anamorphic film look, I don't really see it, especially in the wider angles, except for the flairs. I think the same video shot with an Iscorama would look a lot more like film. I wish they would have tried to copy the Iscorama. I actually like the 1.5x and orange flairs a lot better. 

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SLR Magic specifically designed the adapter for the widest range of uses.  Going higher than 1.33x with almost no support for variable aspect ratio or 4:3 shooting for their widest possible customer base would render the lens less useful for independent narrative filmmaking, or most professional applications.

 

Ultra-super-wide means you must crop the sides off your image, reducing both resolution and field-of-view, effectively diminishing two reasons to use the adapter for the sake of one (pronounced oval bokeh).  Wider than 2.35:1 - 2.40:1 and you are effectively limited to amateur venues.  Odds are most customers won't be doing commercial work of any kind with the Anamorphot, just like most users of every other front-of-lens anamorphic adapter are not doing commercial work or trying to sell their work.  Still, I believe SLR Magic would very much like to see their lenses used in a film that makes it beyond VIMEO or Youtube.

 

1.33x is a compromise that works for cameras that shoot 16:9 video.  Hawk has a successful line of cine lenses (V-Lite) using this same compression factor designed for the same purpose but they also have a different optical design with reduced flaring and even more subtle anamorphic characteristics.  Those lenses cost tens of thousands of dollars for even less blatant telltale signs of bent glass (see Danny Boyle's Trance for a recent example).

 

 

...as for the anamorphic film look, I don't really see it, especially in the wider angles,

 

 

With wider angles you don't get pronounced bokeh, even with 2X lenses.  Look at the long tracking/steadi shot opening Boogie Nights.  It starts with the op up on a crane looking at a neon sign, the crane moves across a nighttime street exterior, dips to allow the op to step off and continue walking into a night club in one un-broken shot, moving between people.  It goes on unbroken for several minutes starting from ~T2.8 out on the street and transitioning to ~T4 inside the club.  

 

At the wider stop, outside looking down a lit up San Fernando Valley street, you don't see pronounced oval bokeh because you don't see pronounced bokeh.  Regardless of being very "open" it's a very wide lens.  That film was shot with 2X Panavision lenses.  Even for the mediums, two and three shots in the club, you don't see blatant ovals, even though the scene is filled, like the street scene outside, with small lights and highlights all throughout the scene, giving ample opportunity for anamorphic giveaways.  It's not until the shot ends on a CU of Wahlberg that the first really pronounced ovals appear.

 

You do still have an image that's optically different than if you'd shot with a very wide spherical lens and cropped.  It wouldn't feel the same.  But as you go wider the most telltale trait will be the look of flares.

 

You can still get decent ovals in close-ups with a little help from the diopters.  That's where you typically appreciate them anyway.

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Seb's a talented guy; the video held my interest throughout.  I feel he really highlighted the strengths of SLR Magic's new lens and I was surprised he didn't do any grading at all (at least, I believe that's what I read), since he achieved so many different looks with the two cameras, from very monochromatic to richly colored shots. I especially enjoyed some of the close-ups. I did feel however that some of the shots might have benefited from less in-camera sharpening, though. I recently posted a link to some clips I made with the GH3 of head shots to show that the camera was certainly capable of creating a film look with nice skin tones (some still dispute that), but now that top-tier cameras have already proven that digital is not something to be despised, I wonder how long it will be before we can dispense with a slavish adherence to a certain esthetic. There are times when I can enjoy a movie shot digitally where it doesn't pretend to resemble celluloid at all. 

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Can this be used on the Black Magic Production 4k Cam? I guess, yes, with it's EF mount and the fact that Andrew used this with his 5DMk3.

 

Also, using the adapter and unsqueezing in to an anamorphic project (by 1.33x) would create a resolution of 5107 x 2160, would it not?

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I dont wanna sound like a hater but I'll def. stick with my vintage glas. I appreciate the effort and wish them all the best but the footage seems to me too clean and too video-ish. No offence!!! 

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I got a copy of this lens from SLR Magic a few weeks ago. I love the look it produces, especially on the BMPCC. I used it mainly with the 20mm f1.7 and 14mm f2.5. However, it doesn't really suit my style of shooting. I really want to take the time to shoot Anamorphic, and while this is certainly faster and more efficient than say, a Sankor 16c, it still takes a little more care and precision.

 

That being said, I think I need to part with this lens combo. If anyone is interested in getting a copy shipped within the US, let me know. I have the whole kit, the 35mm SLR Magic, Anamorphot 50, all diopters and step up rings. It is in impeccable condition (took it out for 2-3 days on a shoot). I think the kit is retailing for $1899, but I'll glady sell under that for $1600 OBO.

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