You can choose between either a 1.33x or 2x squeeze variation. This one is cheaper and a bit more compact than the Letus35, mainly because it doesn’t have that powerful flare options. SLR Magic Anamorphot-50: Cheap and compact These adapters will be offered either with or without matte boxes and lens supports, and clamp onto most lenses up to 114mm in outside diameter. Others will offer a 1.8x squeeze factor for achieving a straight 2.4:1 scope format on cameras which can record in the standard 1.33:1 aspect ratio.Įach adapter model can feature either low, medium, or high flare depending on the look you’re going for. Most of Letus35’s AnamorphX adapters will either offer a 1.33x squeeze factor, making them great for conventional digital cameras using a 1.78:1 aspect ratio. Letus35 AnamorphX Adapter: For digital cameras When it comes to adapters, there’s plenty of fish in the sea, you just have to figure out which one is for your tasting! So, for your convenience, why don’t I serve you some of our top picks. These are optical elements that sit in front of your existing lenses. ![]() They just don’t always come at an affordable price range, and so we welcome the anamorphic adapter. As a filmmaker, you want those qualities to hit your footage as well. The anamorphic lens has some rather unique qualities adding that cinematic look to your footage. Their large image circle of 31.5mm means that they are optimized for all current digital- and film cameras and include the ARRI Lens Data System. ![]() It includes a variety of focal lengths with wide apertures ranging from T2.3 to T3.5 and close focus distancing. It has a characteristic graduated depth of field, a predictable full field of performance at all apertures, a prominent anamorphic flare, and a flattering bokeh – you might say it’s bokehlicious. It’s a vintage lens, but don’t count this old-timer out of the race just yet! Its optical quality and small size are hard to beat. The C Series has been a creator’s go-to lens since 1968. Panavision C & E Series: Amazing optical quality If you’re looking for creating a truly cinematic experience, this lens is not merely a ‘nicesity’ it’s a necessity. ![]() It only has a dual focus, which essentially means that you need to focus both the taking lens and the anamorphic lens to achieve your desired focus (It’s that Iscorama patent – who can give the patent office a call?). This is due to its edge-to-edge sharpness, corner transmission and centre sharpness. This lens is perfect if you’re looking to shoot insanely sharp images with high-resolution cameras like the Panasonic GH5. SIRUI 35mm/50mm: Extends image for a cinematic shot First of all, let’s talk about that 2X squeeze… this will give you a natural and organic look – and I don’t mean to sound superficial, but it’s all about the look! Many anamorphic lenses tend to be larger and heavier than the spherical lenses – not the Sankor 16F! This lens is so light that you won’t need any support. Now, let’s take a look at its awesome advantages. Also, its lens focus can come as close as 1.5m, which gives you a decently close–up, but if you’re into catching those tiny details, then you might want to acquire a diopter. It has a bit of a tricky vignette, so when strong light hits the lens it reflects on the inside of the barrel and causes light to flare and bloom in a vignette shape around the edges of your image. The bit cheaper alternative is the Sankor 16F, that’ll still provide you with nothing less than beautiful aesthetics and diverse looks and moods. The most popular among these the Sankor 16C. This is just a millimeter smaller in each axis than the Fuji GFX100’s massive sensor - 43.9mm by 32.9mm - and squeezes us into medium format territory.Sankor really put in an effort when creating not one, not two, but three anamorphic lenses. By rotating my camera and having the squeeze applied to the short side of the sensor, we’re “emulating” a 43.2mm by 32mm sensor. That gives me 24mm x 1.8mm, which equals 43.2mm. ![]() When I rotate the camera, the squeeze is applied to the short side of the sensor, resulting in 24mm, times the squeeze. I chose the second option, and you’ll see why. The resulting image is what we would get using a sensor that is 36*1.8 = 64.8 by 24mm.įrom here, we can rotate the lens to squeeze things vertically and redirect that squeeze or rotate the camera and reorient the sensor while keeping the squeeze horizontal. For this example, with the Vazen and Great Joy’s: 1.8x. When we mount an anamorphic lens the traditional way, we multiply the long side of the sensor by the squeeze factor. The S1H’s full-frame sensor, working on open gate mode, gives me a recording area of 36mm x 24mm (a little less if we get nitpicky). A simple camera setup Credit: Tito Ferradans
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