The 1.6x stretch is clearly meant to take advantage of the 3:2 open gate mode on such cameras as the S1H since that would produce a 2.4 aspect ratio which would be standard, but I have yet to see any reviewers using it that way.
Most reviewers don’t know how to use an anamorphic lens, or why it was invented. The only reason was, as you say, utilize the whole frame and still have a widescreen ratio.
It would just add a little extra space on the top and bottom in 4:3 vs overall higher resolution (specifically horizontal resolution). But that would at least give you some options to crop in. Still can’t believe that my GH5 from 2018 has a 6k open gate mode. I’ve only used it once on a client shoot (to get stills while shooting video vs changing between photo and video modes) but it’s cool knowing I have the option! About to get an fx3. I’ve already settled on sticking to UHD. It looks like an amazing camera.
They did it, the random company i bought a monopod from was the one to finally just...do it. I cant shoot anymore but i'm happy for shooters all around
Just today I picked up one of these lenses, used for $1550 Australian dollarydoos (they normally go for AU$2300 new here). I love it! Mostly used it for stills, giving a cinematic 2.40:1 aspect ratio, which is amazing on landscapes.
You could shoot a color chart on your Rokinon and then on the Sirui lens, with your camera set to a proper white balance, and use that color chart in DaVinci to make a LUT to correct the warmth of the Sirui.
Great catch on the color difference when using this lens! Their original 50mm was too cold, the new one is too warm. hahaha. Let's get it in the middle!
I've been waiting for a FF anamorphic for ages so i've been waiting for these reviews. I've just backed it and got the earlybird. Can't wait to test it out I'd love flareless or at least colourless flares but ehhh this will be a good start
Nothing I say to you will satisfy but here goes! This channel and it's views exist because I share helpful opinions. If they weren't helpful I wouldn't be here. And sure, there is no technical guarantee people will get their lenses, but Sirui has delivered thousands of lenses on time so it is hardly a gamble. As for the shill comment, you're right. I jumped at the opportunity to throw away everything I've built, my ethics and character for a lens. Who wouldn't? ;-)
I liked playing with it - but the secondary orb flare that’s also on the S35 and MFT variants still bugs me in a weird way. Hope they can fix that along with the reducing. Great video!
My goodness, I hope that this current obsessive fad regarding the shape of flares and bokeh backgrounds, which represents an amateur and immature fixation, doesn't drive the future of Anamorphic lens design. Any more than the CGI driven FX spectacles continue do drive the future of narrative Cinema. Because truly the medium is not the message. "Medium Cool" - Haskell Wexler. Peoples, educate yourselves with the work of visual story tellers like Conrad Hall ( DOP on "Road to Perdition", "Butch Cassidy and the Sundance Kid", "Electro Glide in Blue", to name just a few) Back in the day when I was an amateur enthusiast shooting Anamorphic film on actual FILM in the guage of Super 8 mm, the fixation was the Cinemascope aspect ration of 2.66:1. ( Later modified to the current standard Cinema aspect ratio of 2.35:1, aka Panavision) This I achieved by using the DIY method of attaching a Kowa Prominar 16H projection lens in front of my Nikon R8 Super 8 mm film camera. Then using the same lens to project the film on my Elmo or Norris Super 8mm film projector. Hello! The technology and terminology being lost on this smart phone, vertical video generation spiced up by the holy grail of the "J.J. Abrams" freaking flares! Irony of ironies ("Super 8" 2011) But I guess I am showing my vintage, and proudly, with NO apologies!
Finally. Nice, affordable full frame anamorphic option. Very excited for the future of budget anamorphic lenses ! Great video as always Caleb, might cop this lens myself in the near future.
Ordered mine this morning...they are offering 500 on the first offering (at the reduced price) - there were only 79 left! Sirui's project is funded to 5,200% of goal.
I have the Sony FX-3 and i would get this lens if Sony gave us the ability over some firmware update to record video with the whole surface of the sensor… it’s actually a waste that a video centric camera like the FX-3 has a 3:2 sensor but can only record in 16:9… Dunno, for now lenses with the 1.33x squeeze produce my favourite aspect ratio when recording in 16:9 on the Sony cameras… this 1.6x or some 2x lenses produce an aspect ratio that is too narrow for my taste. Hope Sony fixes this soon because Panasonic can record in anamorphic mode all the way back from the GH4 era if I’m not mistaken…
I use the Kowa 16h + Helios 44-2 with a Rapido FVD-16A Rangefinder, coupled with the DJI Focus System and the RS2 I have an easy to use 2x anamorphic setup WITH autofocus. Only problem is it beeing so front heavy.. took some smallrig parts and counterweights to mcgyver it all together, but it works soooooo well and easy. The Sirui lenses to me all have the same major 2 problems... not beeing 2x and the (ulgy) blue flares.. they should make it optional to have the blue coating and provide a more yellowish option, like the Kowa 16h has.. it's flares look so natural and organic :)
We are spoiled as anamorphic shooters. Seriously. It's kind of ridiculous how good these budget anamorphic lenses are. They punch waaaaaaay above their price points!
@@weplaywax considering that most other anamorphic lenses don't perform similarly in terms of clarity, especially wide open, and DEFINITELY not at this price point, I'm pretty sure my comment stands. These lenses are far better than they should be for their price. Keep in mind that the vast majority of anamorphic lenses that perform like these cost thousands more. No one, least of all me, is claiming that they're miracle lenses, just much better than they should be for anamorphic lenses that are usually at or below this price.
That's pretty legit! My only issue is I gotta have autofocus cause I'm having people who don't even know how to use a camera help me more than half the time.
I would like something more than 1.33 on a 4/3s mount (GH6). What happens with a full frame RF 1.6 mount connected to a RF speed booster mounted to a GH6? Image quality and what size is the anamorphic … bigger than 1.6 people less than?
Bokeh balls bokeh. Bokeh is the quality of the OOF areas, not just the silly balls that people seem to be obsessed about. This lens exhibits swirly bokeh, but still pleasing.
I remember when I used to watch DSLR Video Shooter and have the same lens and think the same thought. That was me around 4 years ago. I now have my OG DSLR, a Sony mirrorless, 45 Sony lens including the kit lens a few lights, an Atomos Ninja V etc. It takes a lot of work and perseverance, but you can do it and get all the gear you want and more. All the best!
That is a great place to start! I'm 12 years into this, but I started with a 7D, kit lens and a 50mm I borrowed from my dad. Make the gear you have work!
In professional fiction and drama film-making, DOPs play around with the WB settings according to the director's desired mood in each scene. Therefore, there won't be a linear WB throughout the whole feature film/video. This constant shifting of lenses settings in a professional framework takes up considerable time and technical resources. However, amateur videographers and/or indie filmmakers who will be, I presume, the main prospective buyers of this lens, will be seeking a practical, less time consuming WB procedure to counterbalance the peculiar tendency of this lens to produce a warmer result. Here are a couple of suggestions on how to tackle this issue: 1- Shoot all in auto WB, RAW, DNG or in any other uncompressed processed format in your camera. Then tweak the WB to your taste in a photo/video editor. Raw file stores more tonal and color data. With more data stored in the file, there is more processing flexibility in all aspects, including WB. 2- Shooting in compressed processed files like JPEG, aito WB won't work since this lens "crippled" engineering will always cheat the camera's efforts to find a pure white. So, counteract by cheating the lens' systematic "colorblindness" by systematically applying a gray card in a gray tone warmer than the classic Kelvin daytime one in your camera manual WB setting. By doing this, no matter if it's outside, inside, daylight, dim light, whichever, your camera will always find the proper WB thus yielding a linear visual color aspect throughout the whole length of your work. (a warmer gray card tone will make the camera sensor to look for a cooler color gradation thus yielding a closer to the optimal natural white than the one behind the bars of this lens). I'm not sure if this method will help the further tweaking of RAW files. In short, it's all a matter of finding the kind of gray tone card whose WB results will best meet your taste. Most probably there aren't any out there on the market. So, make one yourself. Spray different shades of gray + white paint on a plain white cardboard and go on testing 'till you find the golden pot at the end of the rainbow. You will be looking for a tailored solution. So, tailor your gray, OOOPS, golden joker card. ( LOL). Please note that I never tried this. It's just a theory. I'd like to hear from you on your attempts to accomplish it. I don't even have a camera. I wish I could afford one. English is not my native tongue. I tried my best, though. Trying to help, that's all.
Been excited for this lens for a while. Happy to finally see some test footage. That being said im probably just going to rent once it does come out, I’d rather purchase some spherical lenses for day to day gigs
Your Sony is a photo photo camera as well. Do you take photos with this anamorphic lens? It would give photos an own look, that spherical lenses don't have.
I’ve already dropped nearly $3k on my LUMIX S Pro 50mm, but I’d definitely add the 35mm and 100mm from Sirui to my collection when those are announced.
Damn, that color shift is brutal. The 50 being colder means just one more thing I had to mess with and on big shooting days with multiple lenses being on a camera - no. I just stopped using it.
