Nice informative review. However, I really don't get the rant at the end. Of course projection lenses are a pain to use. If people do it, it's because it's cheaper for hobby shooters. There is no career to make with projection lenses, of course cine lenses are more practical and reliable. The contrary would be an absolute madness. If you want to compare this lens to something, do it with a proper cinema lens. And compared to their Panavision, Cooke and zeiss counterpart, this Orion lens do not look very good. Flare is cliché and dull, and bokeh is meh. I'd rather rent something else that looks better instead of buying a set that is cheaper than it's big brothers but looks worse when it comes to real pro shootings. Don't misquote me though, they are not bad by any means. You can make beautiful images with them, no question. But they are just not that great. If I had to choose an anamorphic lens for a pro project, they'd be at the bottom of the list. The 50 years old panavision C series 40mm looks a million times more organic and better. One final note, advertising a 9K lens kind of defeats the original purpose of your channel which was "how to shoot anamorphic on the cheap". I am totally fine with you switching to real anamorphics review, it's pretty cool and enjoyable. But do not feel obliged to belittle the projection lenses everytime you can. There are tools to make them less impractical and reliable (rapido rehousings for instance) for a fraction of the price of a cine lens. They still have their use and they remain a perfect first step to the anamorphic world. They can be even more with lots of fiddling and work. Of course it takes time, but it's a hobby after all :-) Cheers
Hey Tito! Thanks for the in depth reviews, as always. I’ve used the Atlas lenses a few times on some documentary work on the Alexa mini (4:3). My question is when you’re on a 16x9 sensor are you cropping the edges so it isn’t a 3.55:1 frame? I noticed in your video it looks like a typical 2.35:1 frame. What is your effective resolution in the end?
Great review of the 40mm Atlas Orion! I love their look and someday hope to be able to invest in the 32mm and 50mm. I shot an ad with them recently on the BMPCC6k and they looked gorgeous!
I bought one but is very hard to use I starte using t2.8 and 4 but still feel the image is not that clear in this review he said about a higher T I shoot with higher looks better but need a lot of light any suggestions??
i love your passion for Anamorphics.My interest towards anamorphics initiated from you.Keep up your work.Your videos are not one among the thousands they are very exclusive & inclusive to the subject
The one serious advantage to a (well set up) adapter rig is the flexibility in taking lenses. The taking lens imparts its own character on the image, and the ability to swap them for a different look is pretty handy. I would also point out that a Kowa (16-H or C-35), paired with the new FVD-35 would likely match the Orion in the width department. Seems like the Aivascope 1.75X is in that ballpark too, although I have yet to personally test one.
Tito, the bokeh looks uniform and beautiful on the ARRI Alexa and Alexa Mini. I'm guessing it's the adapters and full frame sensor that is causing the weird distortions.
Great review! Did you use a speedbooster ef to m43 adapter on your gh5? There is no issue mounting the Atlas to the speedbooster? I had .64 XL, and I wasnt able to mount the 40mm on my speedbooster to use with bmpcc4k. Keep up the great work bro!🏆🤘
So, we need adapters that lock and then you also need to use rods and support. I am off the bleeding edge with my setup - OG BMPCC, Speedbooster with the tripod foot locked into a manfrotto plate, Canon 24mm F2.8 IS, and SLR Magic Anamorphot 50. In the future I would like a "real" anamorphic lens, but my setup is a tad lighter and also has the benefit of image stabilization.
Love you channel Tito. An avid watcher through and through. For those of us not working with a MFT sensor, it would be nice if Atlas came out with an EF or PL mount version with S35 coverage but i'm sure that would be closer to $8,000 or more. This lens sure does render a beautiful image. Thanks Tito!!!!
Great review, thank you! Thank you also for "the rant at the end", it gives a very informative opinion on using hack solutions in real-world projects. These lenses are something that should definitely be reviewed by this channel! Budget anamorphic solutions... Yes, these are quite a bit more than some of the adaptor options reviewed on this channel. And yes, some of the romance and pride of hacking something together that can trade blows with the big boys might seem to be lost... But in my opinion, they are the obvious next step for anyone that has been following this channel and hopefully growing their skills along with it. Long live scope!
I completely adore your channel. Your generosity with hard to know information makes this place a knowledge goldmine! Question: how would the Orion 40mm compare to the Vazen 40mm?
What you said about triple checking and fiddling around is spot the F on. It's why I'm considering mostly getting out of the anamorphic thing and going with the anamorfake (speaking of which... I heard there's a guide out there on just that). If I do stay in anamorphic land, I'll keep a lens for very specific things but the rest will go.
It'd be a wonderful piece of irony if, while your work ended up increasing the awareness of anamorphic adapters, and hence their value on the market, it's also increased awareness of that same market and is responsible for the increasingly affordable cine lenses appearing. I'm just getting into adapters, but I'm certainly going to be picking up the Sirui in the spring. Love your channel, just bought a couple of those Tamron close up adapters (KEH sells them for 5 dollars each) and going to make a split field diopter out of one of them. Thanks.
The whole reason we can get 35mm log / raw filming without renting a 50k RED is because of TH-cam. That being said electronics is easy to innovate compared to lens constrained by physics. The Sirui price is crazy low, I wonder what the catch is, or if it matters for indie people at all, could be a good thing.
I think this is the form factor Rapido Technology is trying to make with the FMJ+ RMJ+FVD, one complete lens. More reliable and the feel of a single lens. It's still lower priced depending on the scope. One big advantage is the focus mechanism is moved to the rear. That would help for balance when adding focus controls. Also, less vignetting.
Hi Tito. Love your channel. Thanks. I will probably buy an atlas anamorphic 40mm this year (I will rent one in january on a commercial project with my s1h/ninja V combo). If I want a second atlas I was wandering if the 100mm would be a good choice. What do you think?
Hi Tito, i have a big big question, is it possible to use an speedbooster with the atlas orion that has the Ef mount? Something like: Atlas orion 50mm Ef mount on a ef to rf 1.7 speddboster for a Red Komodo?
A one year late response! If shot on Super 35 4:3 (35mm 4-Perf) it will have the FoV of a 20mm lens. If you are shooting on a Pocket 4k, it’s safe to compare the sensor size of that to Super 16mm film. The lens would most likely play like an 80mm with the FoV of a 40mm. Cheers!
hello, I have an eiki 16f (sankor 16f?) next to a helios 44-2. I find it very difficult to focus, or practically impossible, I wanted to know what options there are of economic diopters, or the possibility of switching to another more economical combo, Thanks
If you would have Cooke Anamorphic/i Full Frame Plus Standard that has Image circle 43.3 with 1.8x squeeze factor. Is that mean that you would be able to utilize full sensor (4:3) and get 2.4:1 aspect ratio? What output resolution of Sony A7S2 would be? Is 4:3 a full sensor coverage almost like you would have photo on a film camera?
Hey! Not sure I follow all the questions, but getting a 4:3 extract from the A7s2 FF video means it's using a 27 by 20.25mm sensor area. That results in a 2880x2160 recording area, which when desqueezed goes to 5760x2160, or when optimized to 4K, 3840x1600. I hope this helps!
@@ProfoundProductions I'd kind of disagree. The Orion lenses are very nice, but are still relatively entry-level in terms of price. The S1H, while a far cry from any red or arri cameras, is fully capable and is similarly entry-level
It's three years later. Would you suggest the 40mm as the first purchase from this set? I'm being realistic here. A set of these is a small mortgage up here in Canada :P
@@AnamorphicOnABudget imagine you don't have a lens yet and someone wants to give you two. Which would you choose? 21,25,32,40,50,65,80,100 I think I would go with 25mm and 40mm.
Panavision is still the absolut gold standard for the anamorphic look so the blue flares couldn’t bother me less. They’re just like the C-Series. And when you go through a proper color grading process, and lets face it, that’s what you do when shooting on such an expensive anamorphic lens, you can have the flares be as saturated and any color you want. $8000 is still nothing for a lens of this caliber.
I’ve found that the Atlas lenses in the end leave a lot to be desired in the Bokeh. After shooting on C-series and Hawk anamorphics, I found the Atlas lenses to be too clean. They also have intense chromatic fringing (purple glow) when shot wide open
They’re 9K. My Veydra 25mm also has some strong purple fringing wide open but it was 1K and looks like a Primo in literally every other situation. I don’t think I could even get the C-Series in Germany where I currently life, for most productions. And I don’t know if Panavision would want to send some over from Prague for the size of movies I’m doing. I could afford to rent the Orions for some projects tho.
@@VariTimo According to Panavision guys in France, there is no more than a dozen C series set in the world, so it's obviously hard to get one for a project. There's one in France, and it's always a fight to know who's going to get it when summer - and shooting season - comes. I had the chance to have a set for a 2 months shoot and I am effraid they differ vastly from the Orion in about every way. Flares are more muted and less saturated. Even though C series tend to vary from one set to another. Some have different coatings, different diaphragm, etc.
Yeah I’m pretty sure the C-Series sets very. I’ve seen a video in which a Panavision lens technician describes the differences in flare between the C, E and T series and shows footage. The C-Series flares in that video didn’t seem to be much more or less saturated than the once I’ve seen from the Orion’s so far. And strong flare saturation isn’t a bad thing since you can than always go and change to color and saturation to whatever you want in DaVinci.
Have you watched the latest season of Peaky Blinders? I'm pretty sure it was filmed with anamorphic lenses, but some images show an aggressive pincushion distortion. I'm not really used to this kind of distortion on anamorphic lenses, barrel distortion seems to be more common.
so this is 20-40mm on 16:9 of a7 series and probably 25-50mm on s35 camera? or...this is 20-40mm on s35 camera and probably 17.5-35mm on 16:9 of a7 series???
yeah, u r right but it's 20-40mm on 3:2 or 16:9 of 3:2 ??? if it has to be with 3:2, then it's probably 25-50mm on 16:9 which mean we should buy that 16-32mm for 16:9???? is there better choice for 16:9 of a7 series?
im using that anamorfake helios from vid-atlantic, its the best fake look ever i found, slim 2x oval with a little revolving angle, just exactly faked classic anamorphic lens, now im seeking some real stuff, this atlas orion is what i feel right the most by far, but the price is too much, if there is something like Vazen (3500 dollars), maybe that will be better than Atlas orion to me, but i dont like ISCO extra lens, that is so ugly, inconvenient and too many issues, at least my Helios can take sharp 3:2 photos and make fake anamorphic space with Pr and Ae on 2x m43 sensor(2.4:1 of full frame is 2x m43)~~~speaking of the better camera, i think the only thing matters for all cameras in this era is the size of A single pixel, because some s16mm camera like z90 can even shoot excellent daytime scenes, the only thing different a lot between these cameras is night scenes, and RAW mode cant help a 24mp S35mm to have better noises than a 24mp full frame does, not to mention the R sensor of a7iii and a9 actually make them like 18mp full frame(1.5x progress)....u have a7s2 u should know that better, using 420 of a7 series is trying not to shoot daytime pure sky or some pure white wall to avoid color cutoff, otherwise i actually feel the 420 of a7iii is better than any other camera's 10bit 422, those high resolution large ass cameras like RED 8K exist because hollywood never lacks lights budget, and i dont understand why those vloggers r insisting to put full frame s35 m43 together all the times....lol
Height is the big key for anamorphics. The lens is already increasing the horizontal field of view, so a taller sensor is what differentiates things. Here's a better explanation of it: th-cam.com/video/De2N4u2igk8/w-d-xo.html
It is wild to me that even "affordable" anamorphic lenses at decent levels... Are still in the $9000 range... I know it's a niche market. But I would have assumed that at least there would be some chinese knock-offs for at least a grand or so. Not Hollywood quality or perfect ring dimensions. A 40 mmm anamorphic at a $1000 or lower would be my nifty fifty if it existed... Even if it's not edge to edge sharp or rectilinear perfection. Hell... Right now I'm using my spherical 18mm f1.2 setup and actually adding distortion to the comparably straight lined image in post to get it more like old anamorphics....
Tito Ferradans It was your review that got me the anamorphic 50 (SLRMagic). I still say it’s the Best Buy for budget anamorphic. Seems even at $3K an anamorphic lens, your still only getting a sharpness at F4 anyway. Love to see you review the Surui 50mm. Here’s some footage I shot with my pocket 4K Black magic and 1.33 Slr Anamorphot 50... th-cam.com/video/uuiyhq9rRps/w-d-xo.html
Nice informative review. However, I really don't get the rant at the end. Of course projection lenses are a pain to use. If people do it, it's because it's cheaper for hobby shooters.
There is no career to make with projection lenses, of course cine lenses are more practical and reliable. The contrary would be an absolute madness. If you want to compare this lens to something, do it with a proper cinema lens. And compared to their Panavision, Cooke and zeiss counterpart, this Orion lens do not look very good. Flare is cliché and dull, and bokeh is meh. I'd rather rent something else that looks better instead of buying a set that is cheaper than it's big brothers but looks worse when it comes to real pro shootings. Don't misquote me though, they are not bad by any means. You can make beautiful images with them, no question. But they are just not that great. If I had to choose an anamorphic lens for a pro project, they'd be at the bottom of the list. The 50 years old panavision C series 40mm looks a million times more organic and better.
One final note, advertising a 9K lens kind of defeats the original purpose of your channel which was "how to shoot anamorphic on the cheap". I am totally fine with you switching to real anamorphics review, it's pretty cool and enjoyable. But do not feel obliged to belittle the projection lenses everytime you can. There are tools to make them less impractical and reliable (rapido rehousings for instance) for a fraction of the price of a cine lens. They still have their use and they remain a perfect first step to the anamorphic world. They can be even more with lots of fiddling and work. Of course it takes time, but it's a hobby after all :-)
Cheers
Very good point here.
Hey Tito! Thanks for the in depth reviews, as always. I’ve used the Atlas lenses a few times on some documentary work on the Alexa mini (4:3). My question is when you’re on a 16x9 sensor are you cropping the edges so it isn’t a 3.55:1 frame? I noticed in your video it looks like a typical 2.35:1 frame. What is your effective resolution in the end?
Great review of the 40mm Atlas Orion! I love their look and someday hope to be able to invest in the 32mm and 50mm. I shot an ad with them recently on the BMPCC6k and they looked gorgeous!
I bought one but is very hard to use I starte using t2.8 and 4 but still feel the image is not that clear in this review he said about a higher T I shoot with higher looks better but need a lot of light any suggestions??
The world is changing, serious anamorphic lenses are getting more accessible. I totally understand your content changing with that as well!
i love your passion for Anamorphics.My interest towards anamorphics initiated from you.Keep up your work.Your videos are not one among the thousands they are very exclusive & inclusive to the subject
The one serious advantage to a (well set up) adapter rig is the flexibility in taking lenses. The taking lens imparts its own character on the image, and the ability to swap them for a different look is pretty handy.
I would also point out that a Kowa (16-H or C-35), paired with the new FVD-35 would likely match the Orion in the width department. Seems like the Aivascope 1.75X is in that ballpark too, although I have yet to personally test one.
LOVE the "messy" bokeh. Love the variety!
Great video. Love these lenses. Definitely plotting getting a set soon. Thanks for the video!
Love this review, Tito!!! Using the A Set on an upcoming shoot, and your video was so informative! Thank you!
Tito, the bokeh looks uniform and beautiful on the ARRI Alexa and Alexa Mini. I'm guessing it's the adapters and full frame sensor that is causing the weird distortions.
Great review! Did you use a speedbooster ef to m43 adapter on your gh5? There is no issue mounting the Atlas to the speedbooster? I had .64 XL, and I wasnt able to mount the 40mm on my speedbooster to use with bmpcc4k.
Keep up the great work bro!🏆🤘
Your videos are always beautifully crafted and calming to watch. Wonderful review! I enjoyed every part of it.
Awesome channel. By far the best on the anamorphic lenses topic. Keep up the good work! 🔥👏
So, we need adapters that lock and then you also need to use rods and support. I am off the bleeding edge with my setup - OG BMPCC, Speedbooster with the tripod foot locked into a manfrotto plate, Canon 24mm F2.8 IS, and SLR Magic Anamorphot 50. In the future I would like a "real" anamorphic lens, but my setup is a tad lighter and also has the benefit of image stabilization.
Love you channel Tito. An avid watcher through and through. For those of us not working with a MFT sensor, it would be nice if Atlas came out with an EF or PL mount version with S35 coverage but i'm sure that would be closer to $8,000 or more. This lens sure does render a beautiful image. Thanks Tito!!!!
Great review, thank you! Thank you also for "the rant at the end", it gives a very informative opinion on using hack solutions in real-world projects.
These lenses are something that should definitely be reviewed by this channel! Budget anamorphic solutions... Yes, these are quite a bit more than some of the adaptor options reviewed on this channel. And yes, some of the romance and pride of hacking something together that can trade blows with the big boys might seem to be lost... But in my opinion, they are the obvious next step for anyone that has been following this channel and hopefully growing their skills along with it.
Long live scope!
Great job, and true THANKS TO NICK. You are both generous.
I completely adore your channel. Your generosity with hard to know information makes this place a knowledge goldmine! Question: how would the Orion 40mm compare to the Vazen 40mm?
Tito Ferradans , Gh5 here with Atomos for monitoring in desqueeze. Thanks for the advice and that’s good to hear!!
Awesome, I was waiting for this review... thanks for sharing
What you said about triple checking and fiddling around is spot the F on. It's why I'm considering mostly getting out of the anamorphic thing and going with the anamorfake (speaking of which... I heard there's a guide out there on just that). If I do stay in anamorphic land, I'll keep a lens for very specific things but the rest will go.
Word to all that. I have a couple I'll keep for very specific uses.
Excited!
Absolutely amazing review! I agree with everything you said, especially regarding the pain of using adopters 😅
It'd be a wonderful piece of irony if, while your work ended up increasing the awareness of anamorphic adapters, and hence their value on the market, it's also increased awareness of that same market and is responsible for the increasingly affordable cine lenses appearing. I'm just getting into adapters, but I'm certainly going to be picking up the Sirui in the spring. Love your channel, just bought a couple of those Tamron close up adapters (KEH sells them for 5 dollars each) and going to make a split field diopter out of one of them. Thanks.
The whole reason we can get 35mm log / raw filming without renting a 50k RED is because of TH-cam. That being said electronics is easy to innovate compared to lens constrained by physics. The Sirui price is crazy low, I wonder what the catch is, or if it matters for indie people at all, could be a good thing.
I think this is the form factor Rapido Technology is trying to make with the FMJ+ RMJ+FVD, one complete lens. More reliable and the feel of a single lens. It's still lower priced depending on the scope. One big advantage is the focus mechanism is moved to the rear. That would help for balance when adding focus controls. Also, less vignetting.
Great lenses, we have the A set at our office that I plan to start using more.
Hello. What do you think about Sirui anamorphic lens and can we expect any test?
@@AnamorphicOnABudget This is going to be a pretty fascinating review. Fingers crossed that it holds ups nicely!
Hi Tito. Love your channel. Thanks. I will probably buy an atlas anamorphic 40mm this year (I will rent one in january on a commercial project with my s1h/ninja V combo). If I want a second atlas I was wandering if the 100mm would be a good choice. What do you think?
I like the 65 more than the 100mm, but I understand the appeal of a much longer focal length if your base is the 40mm. :)
@@AnamorphicOnABudget thanks for the advise. Idealy I will have all the A set on day but I will do that year by year for the moment
Sorry i missed this. The Atlas are actually the glass I’m most excited about for about a year now.
I just wish i could afford them.
Hi Tito, i have a big big question, is it possible to use an speedbooster with the atlas orion that has the Ef mount? Something like: Atlas orion 50mm Ef mount on a ef to rf 1.7 speddboster for a Red Komodo?
Solid review
I used the SLR Magic Anamorphot 40 compact with a Sony 35mm @ f2.5 and near focus, I got the same bell shape bokeh.
I'm using a voigtlander 40mm on my BMPCC4k and an Isco Ultra star
I'm confused what is the final FoV if this 40mm. Either on BMPCC6k or BMPCC4k. You mentioned 20mm FoV during the video, is that for MFT camera?
A one year late response! If shot on Super 35 4:3 (35mm 4-Perf) it will have the FoV of a 20mm lens. If you are shooting on a Pocket 4k, it’s safe to compare the sensor size of that to Super 16mm film. The lens would most likely play like an 80mm with the FoV of a 40mm. Cheers!
hello, I have an eiki 16f (sankor 16f?) next to a helios 44-2. I find it very difficult to focus, or practically impossible, I wanted to know what options there are of economic diopters, or the possibility of switching to another more economical combo, Thanks
awesome review thank you we needed more info on these lens
If you would have Cooke Anamorphic/i Full Frame Plus Standard that has Image circle 43.3 with 1.8x squeeze factor. Is that mean that you would be able to utilize full sensor (4:3) and get 2.4:1 aspect ratio? What output resolution of Sony A7S2 would be? Is 4:3 a full sensor coverage almost like you would have photo on a film camera?
Hey! Not sure I follow all the questions, but getting a 4:3 extract from the A7s2 FF video means it's using a 27 by 20.25mm sensor area. That results in a 2880x2160 recording area, which when desqueezed goes to 5760x2160, or when optimized to 4K, 3840x1600. I hope this helps!
If you shoot w/ a Sony ASPC and desqueeze in post does it come out to 2.35:1?
Tito Ferradans thanks for the info! What does it come out to originally?
Just gaffed a film with a set of these lenses. They've got good character for the price.
id love to see a comparison of this lens vs Vazen 40 possible video in the future? (:
@@AnamorphicOnABudget haha understandable!
Just hit that reminder notification 🔔
The Panasonic S1H would be perfect for this lens. It has great support for hi-res anamorphic.
A lens this nice belongs on a RED or ARRI.
@@ProfoundProductions I'd kind of disagree. The Orion lenses are very nice, but are still relatively entry-level in terms of price. The S1H, while a far cry from any red or arri cameras, is fully capable and is similarly entry-level
Great review! Thanks mate!
It's three years later. Would you suggest the 40mm as the first purchase from this set? I'm being realistic here. A set of these is a small mortgage up here in Canada :P
I'm also in Canada (Vancouver)! hahaha! And I also got the 40mm as my first (and only) Orion so far. Haven't needed any others.
@@AnamorphicOnABudget Have you done a comparison with others like Xelmus?
No. Xelmus is nearly impossible to find, and there are none in town.
@@AnamorphicOnABudget imagine you don't have a lens yet and someone wants to give you two. Which would you choose?
21,25,32,40,50,65,80,100
I think I would go with 25mm and 40mm.
Is it possible for future to have autofocus anamorphic lenses for Sony? 😅
@@AnamorphicOnABudget true. Sad. I can't wait on Sirui 50mm anamorphic and hope they fix alligment issue it has had.
Thanks, Tito.
Newb anamorphic question. What causes the wobble? Is it the rolling shutter made worse by anamorphic lenses?
Yes and no. In the case of this video, it was play between the adapter and the lens and the camera.
Panavision is still the absolut gold standard for the anamorphic look so the blue flares couldn’t bother me less. They’re just like the C-Series. And when you go through a proper color grading process, and lets face it, that’s what you do when shooting on such an expensive anamorphic lens, you can have the flares be as saturated and any color you want. $8000 is still nothing for a lens of this caliber.
I’ve found that the Atlas lenses in the end leave a lot to be desired in the Bokeh. After shooting on C-series and Hawk anamorphics, I found the Atlas lenses to be too clean. They also have intense chromatic fringing (purple glow) when shot wide open
They’re 9K. My Veydra 25mm also has some strong purple fringing wide open but it was 1K and looks like a Primo in literally every other situation. I don’t think I could even get the C-Series in Germany where I currently life, for most productions. And I don’t know if Panavision would want to send some over from Prague for the size of movies I’m doing. I could afford to rent the Orions for some projects tho.
@@VariTimo According to Panavision guys in France, there is no more than a dozen C series set in the world, so it's obviously hard to get one for a project. There's one in France, and it's always a fight to know who's going to get it when summer - and shooting season - comes.
I had the chance to have a set for a 2 months shoot and I am effraid they differ vastly from the Orion in about every way. Flares are more muted and less saturated. Even though C series tend to vary from one set to another. Some have different coatings, different diaphragm, etc.
Yeah I’m pretty sure the C-Series sets very. I’ve seen a video in which a Panavision lens technician describes the differences in flare between the C, E and T series and shows footage. The C-Series flares in that video didn’t seem to be much more or less saturated than the once I’ve seen from the Orion’s so far. And strong flare saturation isn’t a bad thing since you can than always go and change to color and saturation to whatever you want in DaVinci.
Have you watched the latest season of Peaky Blinders? I'm pretty sure it was filmed with anamorphic lenses, but some images show an aggressive pincushion distortion. I'm not really used to this kind of distortion on anamorphic lenses, barrel distortion seems to be more common.
Yeah it's just the 32mm Cooke. Looks really bad actually.
How do you feel this compares to Vazen 40mm?
Tito Ferradans Thanks for the reply... can you detail why you say that? Pricing? I’m more wondering about quality differences
Can I use this lenses with bmpcc4k plz reply 🙏 Buddy
Yes you can. You'll need an adapter, either to PL or EF, but that shouldn't be hard. :)
so this is 20-40mm on 16:9 of a7 series and probably 25-50mm on s35 camera? or...this is 20-40mm on s35 camera and probably 17.5-35mm on 16:9 of a7 series???
yeah, u r right but it's 20-40mm on 3:2 or 16:9 of 3:2 ??? if it has to be with 3:2, then it's probably 25-50mm on 16:9 which mean we should buy that 16-32mm for 16:9???? is there better choice for 16:9 of a7 series?
im using that anamorfake helios from vid-atlantic, its the best fake look ever i found, slim 2x oval with a little revolving angle, just exactly faked classic anamorphic lens, now im seeking some real stuff, this atlas orion is what i feel right the most by far, but the price is too much, if there is something like Vazen (3500 dollars), maybe that will be better than Atlas orion to me, but i dont like ISCO extra lens, that is so ugly, inconvenient and too many issues, at least my Helios can take sharp 3:2 photos and make fake anamorphic space with Pr and Ae on 2x m43 sensor(2.4:1 of full frame is 2x m43)~~~speaking of the better camera, i think the only thing matters for all cameras in this era is the size of A single pixel, because some s16mm camera like z90 can even shoot excellent daytime scenes, the only thing different a lot between these cameras is night scenes, and RAW mode cant help a 24mp S35mm to have better noises than a 24mp full frame does, not to mention the R sensor of a7iii and a9 actually make them like 18mp full frame(1.5x progress)....u have a7s2 u should know that better, using 420 of a7 series is trying not to shoot daytime pure sky or some pure white wall to avoid color cutoff, otherwise i actually feel the 420 of a7iii is better than any other camera's 10bit 422, those high resolution large ass cameras like RED 8K exist because hollywood never lacks lights budget, and i dont understand why those vloggers r insisting to put full frame s35 m43 together all the times....lol
Hi. Which camera Di you use to shot this video?
A7s2
@@AnamorphicOnABudget thanks! So for komodo 32 would be more usable as one only lens, right?
Why is the red Gemini best for filming anamorphic?
Because it's the tallest sensor in the RED lineup.
@@AnamorphicOnABudget tall helps for anamorphic? I would think the width would matter more
Height is the big key for anamorphics. The lens is already increasing the horizontal field of view, so a taller sensor is what differentiates things. Here's a better explanation of it: th-cam.com/video/De2N4u2igk8/w-d-xo.html
Where are these made?
It's only when we try out super expensive gear that we realize how hard our lives have been with adapters :)
It is wild to me that even "affordable" anamorphic lenses at decent levels... Are still in the $9000 range...
I know it's a niche market. But I would have assumed that at least there would be some chinese knock-offs for at least a grand or so. Not Hollywood quality or perfect ring dimensions. A 40 mmm anamorphic at a $1000 or lower would be my nifty fifty if it existed... Even if it's not edge to edge sharp or rectilinear perfection. Hell... Right now I'm using my spherical 18mm f1.2 setup and actually adding distortion to the comparably straight lined image in post to get it more like old anamorphics....
Rolling shutter hurts me 😑
Tito Ferradans It was your review that got me the anamorphic 50 (SLRMagic). I still say it’s the Best Buy for budget anamorphic. Seems even at $3K an anamorphic lens, your still only getting a sharpness at F4 anyway. Love to see you review the Surui 50mm. Here’s some footage I shot with my pocket 4K Black magic and 1.33 Slr Anamorphot 50... th-cam.com/video/uuiyhq9rRps/w-d-xo.html
@@AnamorphicOnABudget You're doing great work sir. I can't wait to see your channel really explode :)
TU É FODA MLK!!!!!
Nuke checkerboard ftw
9k! Cheap yet expensive.
flares are still ugly, but thank you for the review!
Everytime i see a new lens of this guy, i think of him trying to explain to his hot gf why is a good idea to spend another thousand on a lens
the flares are ugly