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The anamorphic isn’t restricted to just Micro Four Thirds. The anamorphic itself takes the form of an adapter like the Iscorama which attaches to the front of your prime. You can use it on any camera.
At the beginning of the IFA show in Berlin, Andrew from SLR Magic dropped by at my studio and dropped off the V2 and V3 anamorphic prototype lenses the company are working on. A different route would be to target focal lenghts of 20 and upwards to 50 on full frame lenses, but yet again a 58mm thread could prove pretty versatile.
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SLR magic announces 2X and 1.33x anamorphic cine lens sets
SLR Magic have been hard at work and have just announced their SLR Magic ANAMORPHOT-CINE 2x lens set for indie filmmakers. The set comprising of a 35mm, 50mm and 70mm in a M 4/3 mount. According to SLR Magic, they developed the SLR Magic ANAMORPHOT-CINE lenses to deliver the classic contrast, distortion, chromatic, color aberration, and flare characteristics of vintage anamorphic lenses, but with the convenience of a matched lens set without the hassle of aligning and matching lenses to the already popular SLR Magic Rangefinder with Anamorphot adapter combination.
The 2x anamorphic set should be a good combination when used in conjunction with the Panasonic GH4 which is able to record in a 4:3 aspect ratio. This aspect ratio is perfect for using the 2x stretch anamorphic format.
Panasonic seem to be the only company making low cost cameras that can record in aspect ratios to take advantage of anamorphic lenses. It will be interesting to see if any other manufacturers start adding the option in their cameras.
This from SLR Magic:
To achieve the much loved scope aspect ratio, which gives a very pleasant, epic effect, filmmakers must crop off the top and bottom of standard 16:9 footage when using spherical lenses with modern digital cameras. As a result, 25% or more sensor/negative information is discarded.
This 2x anamorphic lens help filmmakers to maximize their image quality by preventing this loss of vertical resolution. The unique 2x squeeze factor uses the entire 4:3 sensor/negative area to achieve the desired 2.66:1 aspect ratio. The SLR Magic ANAMORPHOT-CINE 2x does this by compressing a 100% wider field of view to fit the width of the 4:3 sensor/negative without compressing image height.
The SLR Magic ANAMORPHOT-CINE 2x create a unique “artifact” such as horizontal lens flare, commonly referred to as anamorphic streaks, and may create slightly elongated bokeh. Over the history of cinema, these same stylish effects have contributed to the cinematic “look” of epic motion picture photography. Characteristics that shape this anamorphic “look” come from “front-mounted” anamorphic designs such as the SLR Magic Anamorphot while “rear-mounted” anamorphic designs have more suppressed anamorphic characteristics.
Technical Data:
SLR Magic ANAMORPHOT-CINE 35mm T2.4
SLR Magic ANAMORPHOT-CINE 50mm T2.8
SLR Magic ANAMORPHOT-CINE 70mm T4
Lens Type: Anamorphic lens
Squeeze factor: 2x
Camera mode: 4:3 Anamorphic
Objective front filter thread: Φ82
Mount: micro four thirds
Lens Coating: Multi Coated
Close Focus: 3’6
Weight (oz./g): 47.9/1,360
Length (cm): 19.25
Diameter (cm): 10
Suggested aperture setting: T4-5.6
Image Circle: mFT for 35mm T2.4, S35 for 50mm T2.8 and 70mm T4
MSRP: $2,499 for SLR Magic ANAMORPHOT-CINE 35mm T2.4
$2,999 for SLR Magic ANAMORPHOT-CINE 50mm T2.8
$2,999 for SLR Magic ANAMORPHOT-CINE 70mm T4
SLR Magic also announced a set of 1.33x anamorphic lenses, to let you achieve the 2.35:1 scope aspect ratio. To achieve this look when using spherical lenses, filmmakers usually just crop off the top and bottom of standard 16:9 footage, but As a result, 25% of sensor/negative information is discarded.
This from SLR Magic:
This 1,33x anamorphic lens help filmmakers to maximize their image quality by preventing this loss of vertical resolution. The unique 1,33x squeeze factor uses the entire 16:9 sensor/negative area to achieve the desired 2.35:1 aspect ratio. The SLR Magic ANAMORPHOT-CINE 1.33x does this by compressing a 33% wider field of view to fit the width of the 16:9 sensor/negative without compressing image height.
Modern professional cinema cameras have large sensors capable of capturing an image in the 2.35:1 format directly, using spherical lenses, but film makers still desire the anamorphic “look” which often limits them to using rare vintage lenses. These present a number of difficulties in practice such as size, weight, lack of close focus, availability, and high price. We sought to overcome such issues with the SLR Magic ANAMORPHOT-CINE lenses.
The SLR Magic ANAMORPHOT-CINE 1,33x create a unique “artifact” such as horizontal lens flare, commonly referred to as anamorphic streaks, and may create slightly elongated bokeh. Over the history of cinema, these same stylish effects have contributed to the cinematic “look” of epic motion picture photography. Characteristics that shape this anamorphic “look” come from “front-mounted” anamorphic designs such as the SLR Magic Anamorphot while “rear-mounted” anamorphic designs have more suppressed anamorphic characteristics.
The SLR Magic ANAMORPHOT-CINE 1.33x lenses will be available for viewing at the IBC show in Amsterdam, Netherlands from September 11-15 in the Atomos booth in Hall 9 Stand D.25
Technical Data:
SLR Magic ANAMORPHOT-CINE 35mm T2.4
SLR Magic ANAMORPHOT-CINE 50mm T2.8
SLR Magic ANAMORPHOT-CINE 70mm T4
Lens Type: Anamorphic lens
Squeeze factor: 1.33x
Objective front filter thread: Φ82
Mount: Aluminium PL or Titanium PL compatible with optional EF adapter
Lens Coating: Multi Coated
Close Focus: 3’6
Weight (oz./g): 38.8/1,100
Length (cm): 13.5
Diameter (cm): 10
Optional accessories: PL to EF adapter
Suggested aperture setting: T4-5.6
Image Circle: S35 for 35mm T2.4, FF for 50mm T2.8 and 70mm T4
MSRP: $2,499 for SLR Magic ANAMORPHOT-CINE 35mm T2.4
$2,999 for SLR Magic ANAMORPHOT-CINE 50mm T2.8
$2,999 for SLR Magic ANAMORPHOT-CINE 70mm T4
The SLR Magic ANAMORPHOT-CINE 2x and 1.33x lenses will be available for viewing at:
The IBC show in Amsterdam, Netherlands from September 11-15 in the Atomos booth in Hall 9 Stand D.25 and in the Convergent Design booth in Hall 11 Stand A.38 and at Photo Plus show in New York, USA from October 22-24 in the Panasonic Booth 445.
Newsshooter will bring you a full report on the new Anamorphic offerings from IBC.
Matthew Allard is a multi-award-winning, ACS accredited freelance Director of Photography with over 30 years' of experience working in more than 50 countries around the world.
He is the Editor of Newsshooter.com and has been writing on the site since 2010.
Matthew has won 48 ACS Awards, including five prestigious Golden Tripods. In 2016 he won the Award for Best Cinematography at the 21st Asian Television Awards.
Matthew is available to hire as a DP in Japan or for work anywhere else in the world.
I really like the idea of 20 or 25mm anamorphic lens around f2.8-3.2 for m4/3 right now. Personally, I´d like to achieve 2.35:1 aspect ratio when shooting 16:9 (!). Don´t know if that would be possible.. We can crop the sides of 2.66 or 3.11 to get 2.35:1 in post after all.. but it would be really cool to have 2.35:1 right away.. If there would be chance to do more focal lengths in the future I´d love to see 50mm and 35mm. I think it would be really cool to have m4/3 anamorphic lens - it´s good that there is someone trying to do it! :)
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