The South Korean film industry is behind a push into anamorphic lenses.
The new titanium PL mount SLR Magic Anamorphot cinema lenses are designed for RED users, Canon and Arri professionals. They’re also a great fit for the Sony A7S II and Samsung NX1.
SLR Magic today unveiled a set of 2x anamorphic prime lenses designed for indie filmmakers. The set comprising of a 35mm, 50mm and 70mm will be on show at IBC in Amsterdam from September 11-15th 2015 and later in New York at the Photo Plus show (Panasonic stand).
I have been out shooting with the SLR Magic Rangefinder.
- 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.
I have just received my SLR Magic Rangefinder which is a groundbreaking concept. It transfers focus away from the main lens focus ring onto a dedicated buttery smooth geared 240 degree cinema lens focus ring and attached to the main lens like a screw on filter.
With the main lens set to infinity, focus is done purely through the SLR Magic Rangefinder.
This means that the awkward to focus Kowa 2x anamorphic lenses are now as usable as an Iscorama.
It means Nikon glass can finally focus the ‘right’ way!
It also gives closer focussing abilities for lenses that have a long minimum focus distance (like the 2m of an Iscorama anamorphic) and prevents the focus breathing inherit in all non-cinema photographic lenses.
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 Now I have a newer version of the lens with me in Berlin to see how it compares to my other anamorphic lenses.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).
I’m helping SLR Magic collect feedback from filmmakers about the forthcoming full set of APO cinema lenses. The $2k 50mm T2.1 is the first of the set. This will be followed by 4 more, but which ones? All will be APO formulas, full frame and equally high image quality. They will be T2.1 with the exception of the very wide 21mm lens which will be a T3.1.
The SLR Magic APO HyperPrime CINE 50mm T2.1 is a soon to be released high end PL mount cinema lens. The expected price is $1999, less than half the price of a Zeiss compact prime.
The Cooke S4i Mini 50mm T2.8 is $7850 at B&H and the full set is around $45,000.
How do they compare?