So, you ultimately got me! After owning this lens for 2 weeks now I can say it has become my new always-on lens for my S1H! The current series is so high quality, tack sharp, very resistent to unwanted flaring or ghosting. And I love this 1.6 squeeze which is a match made in heaven for my Lumix S1H. You have been one - if not THE - anamorphic ambassador for me in YT - thanks for bringing anamorphic to many of us!
My wife is a flamenco dancer and I knew i had to watch this video as soon as I saw your dancer subject in the thumbnail. Nice work, I hope that was a fun shoot!
Just got my Sirui 50mm full frame anamorphic delivered this afternoon. First quick test shooting in open gate mode with my Panasinic S1H completely knocked me off my feet - just wow how immersive the footage becomes. Only thing I somehow underestimated: both Sirui and Panasonic should contribute to a 3 month subscription to a gym - handheld the combo gets really heavy, and I am very lucky that I bought the famous Nitze top handle to have a propper grip on my rig.
Will be interesting to watch this comparatively speaking with the Great Joy sitting patiently on the sidelines, waiting to come into the competition cage.
Just pulled the trigger on this lens, and a Panasonic S1H because of this video! Can’t wait to shoot 6k open gate!!
2 роки тому
Hey Glenn ! :) cool to see you here :) i guess for youtube having no AF is a downside, are you back at making music videos? I can't wait to see what you make with it! Do you cover that also on your youtube channel ?
@SpectreSoundStudios, I am going to buy a camera this weekend and am torn between getting the Panasonic S1H or the A7SIII. What made you go for the S1H instead of another competion camera such as A7SIII or BMPCC6kpro.
So how does it pair with the S5? Thinking of getting one. Looks great on the s1h for sure, super cinematic, if i dare say the word lol. Great video man.
Just a quick update for all of you who want to use this lens with the Ronin RS2 and the 3D Focus module: This setup can be a killer because it provides AF for this lens mounted on a gimbal. BUT, the 3D Focus module has a range limitation of appr. 6-7 meters, and whenever there is nothing in the range it automatically sets the focus to infinity which makes completely sense. Infinity for the 3D Focus module is at the end of the focus throw of the lens barrel - i.e. if this position is over the optical infinity of the lens, far away objects and backgrounds get blurry. This can get fixed by adding shimming rings to the lens, and Sirui Germany was very friendly to send me a set. So, I could get the optical infinity in perfect sync with the end of the lens barrel throw for my S1H - is also very handsome for manual focusing - you just turn the barrel to the ende, and you are focused at infinity.
I bought this a few months ago to use on my C70, but I tried it on my travel rig yesterday, an R6 Mark II👌. Loving the results and that lens mount is really handy for an Arca plate to go on the 40cm travel slider. I'm heading to Tokyo in 3 weeks and I'm already loving the idea of this lens in those streets!
Do you reckon ATOMOS will update firmware to have 1.6 de-squeeze on the Ninja V at some stage? Btw - love the look of this. The dancing scenes were beautiful!
It's interesting to me to see how big of a deal the "squeeze change" was for the Sirui APS-C lenses, but your review seems to be the only one to really mention it for the Full Frame models. 1.6x infinity to 1.55x close on the FF vs 1.33x infinity to 1.25x close on the APS-C? That is only a ~1% improvement with the FF model. Why isn't this a bigger deal for these lenses when it was such an issue for the APS-C ones for other reviewers?
@@supergrammarbecause I will make a cinematic review about it, I got a additional discount off the early bird price from Sirui(which originally is 1190$ or something like that).
First off, great video!! I have a question though. I'm a livestreamer who is looking into potentially moving to a full frame anamorphic setup to add a bit more of a cinematic quality to my broadcasts, and the way you're framed in this video is superb. I was wondering around how far from the camera you were when filming this, if you remember?
While i would like to order one now. I'll wait for more alternatives. Will probably pop up more cheap offerings (this price range) in the near future. It's clearly possible to manufacture Anamorphics at a lower cost.
You got me hyped for S1H, but I think 3:2 6K mode might not justify buying S1H. Is this mode available only as internal 4:2:0/10 bit recording in 200Mbit L-GOP? Is it possible to push this via HDMI? If so what bit depth, chroma sampling and format?
Hello Tito! Will you be making a video on the new Sirui 1.25x anamorphic adapter? Have you received a review sample? I want to see if it is worth to use on spherical lenses while shooting DCI to get close to a 2.35:1 image.
An important analysis that helps us clearly understand this wonderful lens. Congratulations. My doubts are the following: 1- I think I understand in your explanation that 50mm with 1.6 sequeeze is equal to 32mm. Does that mean it will give me less wide angle than the LUMIX 16-35mm full frame I have ? 2 - I'd be missing out the huge pan of the lens if I downscale to c4k 4128 x 2176 ( S1H + Ninja Atomos V / DCI 4K 17:9 ). 3- Ninja Atomos V allows me to visualize with the appropriate anamorphic decompression? . I can't figure it out for myself. thank you very much for your help with these reports S1H sirui. My unconditional support for your channel.
hey dude! great video! as usually! can You tell me more about color profile? did U use some LUT? Did You made color correction in DaVinci or Premiere Pro? or mean its natural color rendering of this lens? Bests and keep doing what You doo because You doing it very well!
Thanks adam! I'm using a LUT that's not out yet. A friend has been working on it for a long time. Color correction for this video was done in Resolve, but it was very mild - mostly bringing down highlights. This is very close to what you get straight out of camera.
'Hi, may I ask? I just received my Sirui 2,9 50mm anamorphic and I cannot record on my R5…….pressing the REC button does nothing!!!! Am I missing something? Please, help, Thanks
How do you think these will mix with the other lenses? On the Z cam we can use different mounts. On the F6 this lens would allow me to shoot open gate but then maybe I use some of APS-c/MFT set for other shots. I have the full set of those.
The shallow mirrorless mounts allows many more optical design choices for lens. Allowing them to be made lighter, or cheaper, or faster than old DSLR mounts would allow.
Hi man! Thanks for video! Colours and contrast and overall image so beautiful! Can't help but ask - how did you do this? Simple log footage with rec 709 lut and some tweaks or something really special?
Hi Tito, I would have a question re working with S1H 5.4K footage (for the benefit of 30fps over the 6K true Open Gate) and the Sirui 50mm T2.9: De-squeezing the 5.4K sensor (5376 x 3584) horizontally by 1.6 results in a format of the footage of 8.600 x 3584 (rounded) which is pretty much 2.4:1 or DCI Scope 2.39. In Davinci Resolve, I would adjust the project / timeline dimensions to this huge value or go for any reasonable fraction of it, depending on the desired export format. So, for example, I could got with: - 8.600 x 3584 (that's really huge) - 5.184 x 2160 (if I want to export with a height matching UHD or C4K) - 4096 x 1716 (same logic, but here for the width) - 2048 x 858 (just for a fast render and quick review) I have tried out all of those formats for export (just leaving the timeline at the largest format), and they all look good - expecially the two larger ones are awesome! My question for you: Where does this extra horizontal resolution come from when de-squeezing the footage in an NLE sich as Davinci Resolve? In other words: in my case of shooting at 5.4K on the S1H, I am ending up at a resulution of (5.4 x 1.6) K = 8.64 K (!!!). I would assume that Davinci Resolve does a superb job during the desqueeze, interpolating the new pixels from the original sensor format and adding those in between horizontally. I do not have any other explanation to this. Anyway, the results are soo great! What are your thoughts on this? To be honest, after having this lens for only 2 weeks or so, I felt like watching 'amputated' footage after switching to my sperical lens for use with a gimbal. Okay, for all you who might think I am kind of crazy about anamorphic: Yes, I am! One of my first visits of a cinema theater was the legendary 'Ben Hur' which was even wider than 2.39:1. I remember well that I couln't watch TV for a couple of days after this cinema visit. And only two years later when I stood in the original arena in Rome, exactly in the curve of one of the camera positions, I understood what great job the DP and his team had done for the movie, just alone to capture the final fight scenes in the arena. Cheers, Alex
Hey Alex! You have it all right in your comment already. The pixels come from interpolation. I'm a big fan of actually reducing the height instead of increasing the width - very few screens can play 8k, so why upscale and then have the player downscale? ;) I made a calculator for these aspect ratio decisions: www.tferradans/arcalc/go
@@AnamorphicOnABudget Hi Tito, thanks so much for your response! Reducing the height in my 5.4 example would mean to go for a timeline and render output of 4096 x 1716, right - this is an already predefined format in DR, btw. Will also try your calculator.
The spherical inside pretty clearly has green coatings. Do you know if that's just an error on the preproduction units, or will every piece have the green bullet?
@@AnamorphicOnABudget in Bradon Lis video, the main flare is also punchy green. Oof. I really hope they fix this, but still, these are the copies for marketing material, it's weird it's not nailed for them :(
It's not about the "brightness" itself, but what that means for the image. A slower lens will decidedly give you smaller bokeh, and that's a lot of what anamorphic is about - especially at a short telephoto/medium focal length (50mm).
What is your recommendation for settings with this lense om my Canon R6 ... i normally shoot 4K 50 fps IPB light ... Canon C-Log-3 ... IS on ... auto WB .. PAL ... thank you upfront for taking time ... i primarly use primes Canon EF 50 mm 1.2 and 85 mm 1.2 ... but this Sirui 50 mm T2.9 with RF mount is on its way so was curios what you would recommend ... i use an external monitor and also a Ronin M gimbal and handheld and on my Sirui tripod as well as to the situation .. kindest regard, Klaus
A note, and question, for you, Tito, from a professional: First, I highly respect your work and watch as a loyal fan. That being said, I believe that the decimal measurement markings really aren't a problem--and I say this as a focus puller. I'd be curious to hear your specific reasons for having this objection. As a result of our base-10 number system that people are accustomed to in life, 0.8 and 0.9 ft is likely easier to determine than something like 0'9" and 0'11" inches, for most. I'm guessing that this is more of a personal pet peeve, Tito, potentially since you have a very fond relationship with many other anamorphic lenses that use inches (which I won't knock you for at all--they are beautiful technical works, after all, let alone the history and other factors). I wonder though, is the reason that this is a problem for you because you want the markings to match the markings of a measuring tape (whether physical, or digital)? Comparing the two systems directly--base-10 and base-12--would either require a bit of math, or a good intuitive sense of both measurement systems, A.K.A., an ability to easily visually parse a foot into 10 sections and 12 simultaneously. To be completely honest, I don't think this is very difficult to do, or that it even poses much of a problem if you /can't/ do it. But, nevertheless, if you aren't using Lidar or Ultrasonic tape with a focus puller, this "issue" itself is completely null anyway. That is, unless you require a need to very quickly and repeatedly measure with a physical tape and translate that to a focus mark on the lens without any moment for thought; which seems a little... unscrupulous. Maybe most importantly, these markings are on the very close focusing end of the lens, where digital tape measures wouldn't even be accurate because of their off-lens-center nature--this essentially negates every point I just made about why inches may be easier to use. Furthermore, for the intended consumer of this lens--videographers, low budget DPs, and prosumer hobbyists--the potential issue that this difference in markings would create (even at further distances, if they existed on the lens) is an exceedingly rare scenario. Even for those in which it did occur, I don't think that it would be any more of an annoyance as one might have with visually determining distance in the first place. Lets be honest, if the subject is only "0.9" feet away from the sensor, you aren't focusing by distance marks anyway, but by monitor sharpness. Maybe you disagree or have another opinion about this, which I'd love to hear. Thank you for reading!
Thanks for the extensive writeup! The main reason I keep hammering the feet and inches is because ultimately the "fractions of feet" measurement is mixing imperial and metric system. If I had a say, I'd prefer EVERYTHING to be in metric, as I still find feet and inches too convoluted. I too find it easier to visualize 0.5 feet than 6 inches. But for a lens company which is trying to break into the film industry - especially the American film industry, which is where most money is -, I'd say stick to the standards. While using this lens (and other lenses that use fractions of feet, like Vazen) to film behind the scenes for other projects, I've been approached by multiple focus pullers who are interested in the lens, but they all pointed the inconvenience of this mixed measurement. And the particular scenario mentioned was for close ups at fast apertures, where the difference of an inch can get you bad results (like focusing on someone's ear instead of their eyes). I find that focus pulling is already challenging and stressful enough without adding unnecessary math on top of it. It's easier for the user if the lens sticks to the standard than to ask an entire group to adapt to a never-used-before calculation. What are your thoughts?
You can use it on 4:3, as long as you know your resulting aspect ratio will be 2.12:1, and you might need to crop to adapt to more common aspect ratios.
Heya. Great video. Question. Say I'm currently shooting on an APS-C camera but have plans to upgrade to full frame at some point. And I want to purchase an anamorphic lens set (specifically the SIRUI, for my budget haha) to shoot with. But, obviously I don't want to/can't afford to purchase two whole sets (APS-C & full frame - when the eventual other full frame lenses are released). What would I get on the APS-C body with this lens? Still a theoretical 1.6x squeeze, but just with the same crop factor as I'd see on other Full Frame lenses on an APS-C body? Would I be better served getting the APS-C and using 1.3 clear zoom on a full frame body?
Yes to the first question. And I'd say no to the second. I'd stick with this one because of the stronger squeeze factor (it's not theoretical, it's 1.6x regardless of sensor size). The APS-C set is much more limited in terms of coverage and 1.33 is too subtle in comparison.
Could you try something with added filtration on this? I feel like this is the first usable anamorphic at this price point (mechanically...), let's not talk about the Sirui 1.33x... But it's still way to clean, although better than the 1.33x obviously. I have a feeling if you throw on a 1/4 Black Satin or HBM, Glimmerglass, BPM, whatever - doesn't really matter at this point - it could go somewhere with this lens. It is sharp on it's own - would be interesting to detune this somehow. Are you able to test this?
Okay so would it be better to de-squeeze everything in post by 1.6x, 1.51x, 1.555 (the in-between), or custom based on the shot? Just curious on how to handle that issue correctly
I'd desqueeze everything by 1.6x and not worry about it too much. If any shots look too strange, then experiment with the value. But overall, nobody notices the diffference.
Yes there's light loss to the slower aperture, but even very expensive anamorphics or cinema lenses don't typically go above f2.8. In a lighting-controlled scenario its also not really desirable to get that much bokeh anyway.
What are you talking about, there are a lot of anamorphic/cinema lenses that go above f2.8, even budget ones. Also "its also not really desirable to get that much bokeh anyway" ?? Some of the most famous DPs shoot wide open all the time
@@kidcoma1340 Sad I need to explain this to you, but what some select people do and whats more common are two different things. 1.33x is barely anamorphic, I'm talking real anamorphic like 1.8x-2x. Even Cooke anamorphics go to T2.3 for full frame and no higher. Use your head. Use google.
hello there! Greetings from Greece!! so , if i shoot at 3:2 with these lens and my sony a7iii full frame the only think left to do is to disqueeze 1.6 right??? cause me neither dont like these ''fat'' black lines !!
@@AnamorphicOnABudget what if we switch to photo mode to use 3:2 and only record with an external monitor? I’m not sure how that would affect the video quality and I would have to connect a mic to the monitor itself.
Find it interesting that a lot of reviewers seem to be ignoring Komodo when talking about this lens and how “no camera can de-squeeze it properly”. Or V-Raptor for that matter. Both of which have a native mount this lens comes in and can do proper 3:2 1.6x de-squeeze in camera…plus you’re getting VV coverage on V-Raptor in 7 & 8K. I get it’s a budget lens and those aren’t exactly “budget” cameras, but they exist and they can do the thing you say “no camera can do”.
I was wrong in that sentence. You're right about that. Yet, the Komodo ain't full frame and the sensor aspect ratio is 1.89:1, so the 3:2 recording mode is cropping the sides of it. The V-Raptor is full frame, but still has a shorter (not-as-tall) sensor as the S1H (21.6 vs 23.8mm), again, with 1.89:1 aspect ratio, which means cropping in. They CAN do 3:2 recording with 1.6x desqueeze (which was a very hard piece of information to find in writing), but they still don't beat the S1H in terms of sensor height, simplicity and budget. More specifically on the Komodo, I find it funny to bring up that camera since the big selling point of this lens is being full frame. So you're wasting coverage with the Komodo's S35-ish sensor.
@@AnamorphicOnABudget pretty sure the 3:2 1.6x anamorphic mode info is pretty readily available in the tech specs on the Red website. Also I get FF is one selling point, and is certainly at the forefront in the spherical glass world. But anamorphic at a more than 1.33x squeeze built like cinema glass should be in a mount I can use at this price point is what sold me. As a primarily S35 shooter, I like having FF coverage if I ever need it, but it isn’t the selling point for me at all. None of the other offerings from Sirui covered S35 or were even offered in a mount that’s adaptable to most S35 sensors. And nobody else is making similar glass at this price point right now for FF or S35 coverage. So limiting the lens to FF sensors only just because it covers FF seems odd to me. Anyways. Love the channel and the review. Wasn’t aimed at you in particular just seems to be a running theme in reviews I’ve seen. Thought it was curious.
@@TwoShotPics actually, i looked at the time of this review and didn't find anything about the 1.6x desqueeze. I found if afterwards, on some reviews and still couldn't find it in writing! Super strange. As for coverage, good point there, but Sirui's previous set was very much focused on S35, just not on RF mount, even though you could still get that through MTF services. :)
Hey thanks for this video, you mentioned to manually desqueeze but i don't think there is a way to manually on Davinci Resolve there's only presets 1.5 or 1.8 ... please help 😢
Mind giving you thoughts on the new Sirui 50mm versus the old Sirui 50mm + Great Joy adapter? I have all the old Sirui lenses and preordered the adapter, not certain if i should go with the new 50mm as well. What's your opinion? Shooting on a Sony A7S III. Thanks a lot!
Nice video. Just my thoughts, china uses metric system, and as a Chinese brand I think it makes a lot of sense to do it that way, Komodo does offer 1.6x squeeze. Cheers
Yes, it makes sense. My point about imperial scales (which I also despise) is that it's the standard in the film industry. So if they wanna break into that rich market, imperial is something to consider.
Hi I just bought a Sirui anamorphic 35mm f1.8 and my camera is Panasonic GH5 and also I have Viltrox speed booster EF-M2II ( used typically for Sigma 18-35mm ). So Sirui offers an ef-mount adapter for their 35mm anamorphic. Will this work to combine 35mm anamorphic mft converted and mounted on ef speed booster and then mounted on GH5? And if yes how good or bad will be the results? Thank you
@@AnamorphicOnABudget thank you for your answer . But ! why not? My sigma is also ef-m ( Canon mount ) and is compatible to Viltrox speedbooster (ef-m to mft) . What will happen if I convert my mft sirui 35mm anamorphic to ef-m ( sirui offers this adapter for 35mm anamorphic) and then attach it to my speedbooster for what reason it shouldn't work? I want to know if I will get more extra light oder less crop or it will not work at all . And if not please I need logical explanation to know why not. I mean nothing is impossible right?
You say the S1H is “the only camera capable of squeesing the most performance out of the lens” Are you forgetting the Kinefinity Mavo Edge? I do believe it has FF 8k and 4k open gate 3:2 recording modes 🤔
The professor has spoken! Great work man.
Thank you!
Caleb in the house!!
What is this, a crossover episode? - Mr. Peanutbutter
this
is the way!
The blurry background and colors in your narrative shot is amazing! And, I've got mine on ordered!
Thank you!
So, you ultimately got me! After owning this lens for 2 weeks now I can say it has become my new always-on lens for my S1H!
The current series is so high quality, tack sharp, very resistent to unwanted flaring or ghosting. And I love this 1.6 squeeze which is a match made in heaven for my Lumix S1H.
You have been one - if not THE - anamorphic ambassador for me in YT - thanks for bringing anamorphic to many of us!
My wife is a flamenco dancer and I knew i had to watch this video as soon as I saw your dancer subject in the thumbnail. Nice work, I hope that was a fun shoot!
The EF tear jar 👌😂😂😂
Just got my Sirui 50mm full frame anamorphic delivered this afternoon. First quick test shooting in open gate mode with my Panasinic S1H completely knocked me off my feet - just wow how immersive the footage becomes. Only thing I somehow underestimated: both Sirui and Panasonic should contribute to a 3 month subscription to a gym - handheld the combo gets really heavy, and I am very lucky that I bought the famous Nitze top handle to have a propper grip on my rig.
Thanks for the EF tear jar and the great insights on the lens.
Klingt als wärst du bald 1500€ ärmer
@@kasekuchenmitsahne9568 Ich habe nur EF-Mount-Kameras :/
@@dechangeman Dann werde nur ich 1500€ ärmer xD
@@kasekuchenmitsahne9568 Haha, alright
Will be interesting to watch this comparatively speaking with the Great Joy sitting patiently on the sidelines, waiting to come into the competition cage.
Used sell for about 700. Don't pay them crazy release prises, I see some retailers still selling them for way more than what they are worth.
Ordered. Have that feeling “Now I can finally make the one specific project I have been working on for a long time”.
Coming in L mount. My interest is peaked.
Just pulled the trigger on this lens, and a Panasonic S1H because of this video! Can’t wait to shoot 6k open gate!!
Hey Glenn ! :) cool to see you here :) i guess for youtube having no AF is a downside, are you back at making music videos? I can't wait to see what you make with it! Do you cover that also on your youtube channel ?
@SpectreSoundStudios, I am going to buy a camera this weekend and am torn between getting the Panasonic S1H or the A7SIII. What made you go for the S1H instead of another competion camera such as A7SIII or BMPCC6kpro.
EF mount would be amazing, when speedboosting this to BMP 4K!
So how does it pair with the S5? Thinking of getting one. Looks great on the s1h for sure, super cinematic, if i dare say the word lol. Great video man.
Just a quick update for all of you who want to use this lens with the Ronin RS2 and the 3D Focus module:
This setup can be a killer because it provides AF for this lens mounted on a gimbal.
BUT, the 3D Focus module has a range limitation of appr. 6-7 meters, and whenever there is nothing in the range it automatically sets the focus to infinity which makes completely sense.
Infinity for the 3D Focus module is at the end of the focus throw of the lens barrel - i.e. if this position is over the optical infinity of the lens, far away objects and backgrounds get blurry.
This can get fixed by adding shimming rings to the lens, and Sirui Germany was very friendly to send me a set. So, I could get the optical infinity in perfect sync with the end of the lens barrel throw for my S1H - is also very handsome for manual focusing - you just turn the barrel to the ende, and you are focused at infinity.
I bought this a few months ago to use on my C70, but I tried it on my travel rig yesterday, an R6 Mark II👌.
Loving the results and that lens mount is really handy for an Arca plate to go on the 40cm travel slider.
I'm heading to Tokyo in 3 weeks and I'm already loving the idea of this lens in those streets!
Can't believe this - my Sigma FP suddenly became even more AWESOME!
Do you reckon ATOMOS will update firmware to have 1.6 de-squeeze on the Ninja V at some stage? Btw - love the look of this. The dancing scenes were beautiful!
It's interesting to me to see how big of a deal the "squeeze change" was for the Sirui APS-C lenses, but your review seems to be the only one to really mention it for the Full Frame models. 1.6x infinity to 1.55x close on the FF vs 1.33x infinity to 1.25x close on the APS-C? That is only a ~1% improvement with the FF model. Why isn't this a bigger deal for these lenses when it was such an issue for the APS-C ones for other reviewers?
Mine is already on it's way! Can't wait to test it out. I will also film with this in Switzerland and see what this lense can do.
How much was it?
@@supergrammarbecause I will make a cinematic review about it, I got a additional discount off the early bird price from Sirui(which originally is 1190$ or something like that).
@@DigitalDre Oh great I'm looking forward to watching it
@@DigitalDre are the indiegogo 'super early birds' shipping now??
@@bajea No, I have a collaboration with Sirui.
First off, great video!! I have a question though. I'm a livestreamer who is looking into potentially moving to a full frame anamorphic setup to add a bit more of a cinematic quality to my broadcasts, and the way you're framed in this video is superb. I was wondering around how far from the camera you were when filming this, if you remember?
Not only is the flare really fun but the color looks really good!
While i would like to order one now. I'll wait for more alternatives. Will probably pop up more cheap offerings (this price range) in the near future.
It's clearly possible to manufacture Anamorphics at a lower cost.
Your videos make me want to order every new lens your review 😁
Wow it's a Great Joy for me to see this review too!!!
They did it! Finally! It's almost as if they read the comment I left on your last Sirui video.
I just came here to say that metric system rules. Archer does not know better but the rest of the world knows it. Great video, subscribed.
a T2.9 is super great
can't wait for a 35mm Anamorphic
I agree. I would likely get the 35mm before this. I think a 35mm and an 85mm would be the perfect budget set.
Very cool. I like that they are going for more squeeze. Maybe they will do a 1.8x next
Happy they are listening. Shame it won't be Canon EF, also would like to see a little more brighter aperture
they said in the future
Great review, much appreciated. Thank you!
This lens is going to sell like crazy. Wish they made a PL or EF version for my Z-cam though. Here's a tear to add to the bucket.
You can buy Viltrox E mount for the zcams!
Hope they can control the ‘area flare’ a little better maybe with a different coating for the production version. It’s pretty distracting …..
I really like that large format look it creates on the s1h
Page is called Anamorphic on a budget, must watch 🤙🏼
You got me hyped for S1H, but I think 3:2 6K mode might not justify buying S1H. Is this mode available only as internal 4:2:0/10 bit recording in 200Mbit L-GOP?
Is it possible to push this via HDMI? If so what bit depth, chroma sampling and format?
More and more glad I bought an s1h each day 🤓
This is a wonderful video about the lens!
Hello Tito! Will you be making a video on the new Sirui 1.25x anamorphic adapter? Have you received a review sample? I want to see if it is worth to use on spherical lenses while shooting DCI to get close to a 2.35:1 image.
An important analysis that helps us clearly understand this wonderful lens. Congratulations. My doubts are the following: 1- I think I understand in your explanation that 50mm with 1.6 sequeeze is equal to 32mm. Does that mean it will give me less wide angle than the LUMIX 16-35mm full frame I have ? 2 - I'd be missing out the huge pan of the lens if I downscale to c4k 4128 x 2176 ( S1H + Ninja Atomos V / DCI 4K 17:9 ). 3- Ninja Atomos V allows me to visualize with the appropriate anamorphic decompression? . I can't figure it out for myself. thank you very much for your help with these reports S1H sirui. My unconditional support for your channel.
1 - Yes.
2 - Yes, although that was not really a question.
3 - Yes, the Ninja V has many desqueeze settings. Look up through the menus and manuals. :)
hey dude! great video! as usually! can You tell me more about color profile? did U use some LUT? Did You made color correction in DaVinci or Premiere Pro? or mean its natural color rendering of this lens? Bests and keep doing what You doo because You doing it very well!
Thanks adam! I'm using a LUT that's not out yet. A friend has been working on it for a long time. Color correction for this video was done in Resolve, but it was very mild - mostly bringing down highlights. This is very close to what you get straight out of camera.
I love the colors in this video. is there S1H + sirui 50mm? If so, I wonder what picture profile was used? :)
Thanks! It's all in V-log and using the Vitamin A lut (which is not out yet).
'Hi, may I ask? I just received my Sirui 2,9 50mm anamorphic and I cannot record on my R5…….pressing the REC button does nothing!!!! Am I missing something? Please, help, Thanks
I wish camera manufacturers would start giving 10-bit 4:2:2 recording options or better for Open Gate, so this idea can take off quicker.
It's processing power we're lacking here.
Z Cam E2-F6 can 6k 3:2 Open Gate in ProRes HQ 10-bit 4:2:2.
@@ClemensSchiesko Exactly
How do you think these will mix with the other lenses? On the Z cam we can use different mounts. On the F6 this lens would allow me to shoot open gate but then maybe I use some of APS-c/MFT set for other shots. I have the full set of those.
why won't it work on EF?? flange distance?
Dead mount
Flange is designed for mirrorless. 20-ish mm
The shallow mirrorless mounts allows many more optical design choices for lens.
Allowing them to be made lighter, or cheaper, or faster than old DSLR mounts would allow.
Hi man! Thanks for video! Colours and contrast and overall image so beautiful! Can't help but ask - how did you do this?
Simple log footage with rec 709 lut and some tweaks or something really special?
Thank you! Yep, VLog and a special LUT, nothing super elaborate! :)
I don't understand Canon not doing a set of anamorphic lenses for EOS system.
Why don't they do a 2x super 35? Is it difficult to make?
Yes. The more squeeze, the more expensive the glass gets.
YASS THE FLAMENCOOOOO
Btw, the Red Komdoo offers 1.6x desqueeze in camera - came with the 1.5 Firmware Update.
Can you help me find something about this? All I see is about 1.5x, 1.8x and 2x.
How would you import that into Resolve. What would your timeline set up
Thanks for sharing !!!!
Hi Tito, I would have a question re working with S1H 5.4K footage (for the benefit of 30fps over the 6K true Open Gate) and the Sirui 50mm T2.9:
De-squeezing the 5.4K sensor (5376 x 3584) horizontally by 1.6 results in a format of the footage of 8.600 x 3584 (rounded) which is pretty much 2.4:1 or DCI Scope 2.39.
In Davinci Resolve, I would adjust the project / timeline dimensions to this huge value or go for any reasonable fraction of it, depending on the desired export format.
So, for example, I could got with:
- 8.600 x 3584 (that's really huge)
- 5.184 x 2160 (if I want to export with a height matching UHD or C4K)
- 4096 x 1716 (same logic, but here for the width)
- 2048 x 858 (just for a fast render and quick review)
I have tried out all of those formats for export (just leaving the timeline at the largest format), and they all look good - expecially the two larger ones are awesome!
My question for you: Where does this extra horizontal resolution come from when de-squeezing the footage in an NLE sich as Davinci Resolve?
In other words: in my case of shooting at 5.4K on the S1H, I am ending up at a resulution of (5.4 x 1.6) K = 8.64 K (!!!).
I would assume that Davinci Resolve does a superb job during the desqueeze, interpolating the new pixels from the original sensor format and adding those in between horizontally.
I do not have any other explanation to this. Anyway, the results are soo great! What are your thoughts on this?
To be honest, after having this lens for only 2 weeks or so, I felt like watching 'amputated' footage after switching to my sperical lens for use with a gimbal.
Okay, for all you who might think I am kind of crazy about anamorphic: Yes, I am!
One of my first visits of a cinema theater was the legendary 'Ben Hur' which was even wider than 2.39:1. I remember well that I couln't watch TV for a couple of days after this cinema visit. And only two years later when I stood in the original arena in Rome, exactly in the curve of one of the camera positions, I understood what great job the DP and his team had done for the movie, just alone to capture the final fight scenes in the arena.
Cheers, Alex
Hey Alex!
You have it all right in your comment already. The pixels come from interpolation. I'm a big fan of actually reducing the height instead of increasing the width - very few screens can play 8k, so why upscale and then have the player downscale? ;)
I made a calculator for these aspect ratio decisions: www.tferradans/arcalc/go
@@AnamorphicOnABudget Hi Tito, thanks so much for your response!
Reducing the height in my 5.4 example would mean to go for a timeline and render output of 4096 x 1716, right - this is an already predefined format in DR, btw.
Will also try your calculator.
I need an anamorphic for super 35, EF mount please! Think SIRUI will be coming out with one soon? 🙏
The only ones so far are Laowa's Nanomorphs and Great Joy's 50mm!
This is unfortunate Sony FF does not have 3:2 video mode. Hope A7IV would get it. I wonder what about A7S3?
Why does this feels like some dream come true moment of life 😅
Love it as always, Tito! Do you think the S5 would pull off similar results to the S1H here?
Thank you! Totally, I think the S5 is a great alternative to the S1H.
@@AnamorphicOnABudget Cheers!!!
The spherical inside pretty clearly has green coatings. Do you know if that's just an error on the preproduction units, or will every piece have the green bullet?
Great question there. I'll ask them!
@@AnamorphicOnABudget in Bradon Lis video, the main flare is also punchy green. Oof. I really hope they fix this, but still, these are the copies for marketing material, it's weird it's not nailed for them :(
Agreed. I saw that video too. Looooots of green going on.
Thanks!
Your comprehensive insight is priceless. Love your channel, keep up the great work!
THANK YOU!
Fantastic.
The dancing was 😎
The stop of light being lost is fine with the low light capabilities of the S1h. Just put Iso on 4000
It's not about the "brightness" itself, but what that means for the image. A slower lens will decidedly give you smaller bokeh, and that's a lot of what anamorphic is about - especially at a short telephoto/medium focal length (50mm).
Great review! But could you please also make a 2x mod for this one?
What is your recommendation for settings with this lense om my Canon R6 ... i normally shoot 4K 50 fps IPB light ... Canon C-Log-3 ... IS on ... auto WB .. PAL ... thank you upfront for taking time ... i primarly use primes Canon EF 50 mm 1.2 and 85 mm 1.2 ... but this Sirui 50 mm T2.9 with RF mount is on its way so was curios what you would recommend ... i use an external monitor and also a Ronin M gimbal and handheld and on my Sirui tripod as well as to the situation .. kindest regard, Klaus
You should be fine, although I'd strongly recommend not using auto WB! The monitor will do the desqueeze for you!
A note, and question, for you, Tito, from a professional: First, I highly respect your work and watch as a loyal fan. That being said, I believe that the decimal measurement markings really aren't a problem--and I say this as a focus puller.
I'd be curious to hear your specific reasons for having this objection. As a result of our base-10 number system that people are accustomed to in life, 0.8 and 0.9 ft is likely easier to determine than something like 0'9" and 0'11" inches, for most. I'm guessing that this is more of a personal pet peeve, Tito, potentially since you have a very fond relationship with many other anamorphic lenses that use inches (which I won't knock you for at all--they are beautiful technical works, after all, let alone the history and other factors). I wonder though, is the reason that this is a problem for you because you want the markings to match the markings of a measuring tape (whether physical, or digital)? Comparing the two systems directly--base-10 and base-12--would either require a bit of math, or a good intuitive sense of both measurement systems, A.K.A., an ability to easily visually parse a foot into 10 sections and 12 simultaneously. To be completely honest, I don't think this is very difficult to do, or that it even poses much of a problem if you /can't/ do it. But, nevertheless, if you aren't using Lidar or Ultrasonic tape with a focus puller, this "issue" itself is completely null anyway. That is, unless you require a need to very quickly and repeatedly measure with a physical tape and translate that to a focus mark on the lens without any moment for thought; which seems a little... unscrupulous. Maybe most importantly, these markings are on the very close focusing end of the lens, where digital tape measures wouldn't even be accurate because of their off-lens-center nature--this essentially negates every point I just made about why inches may be easier to use.
Furthermore, for the intended consumer of this lens--videographers, low budget DPs, and prosumer hobbyists--the potential issue that this difference in markings would create (even at further distances, if they existed on the lens) is an exceedingly rare scenario. Even for those in which it did occur, I don't think that it would be any more of an annoyance as one might have with visually determining distance in the first place.
Lets be honest, if the subject is only "0.9" feet away from the sensor, you aren't focusing by distance marks anyway, but by monitor sharpness. Maybe you disagree or have another opinion about this, which I'd love to hear. Thank you for reading!
Thanks for the extensive writeup! The main reason I keep hammering the feet and inches is because ultimately the "fractions of feet" measurement is mixing imperial and metric system. If I had a say, I'd prefer EVERYTHING to be in metric, as I still find feet and inches too convoluted. I too find it easier to visualize 0.5 feet than 6 inches. But for a lens company which is trying to break into the film industry - especially the American film industry, which is where most money is -, I'd say stick to the standards.
While using this lens (and other lenses that use fractions of feet, like Vazen) to film behind the scenes for other projects, I've been approached by multiple focus pullers who are interested in the lens, but they all pointed the inconvenience of this mixed measurement. And the particular scenario mentioned was for close ups at fast apertures, where the difference of an inch can get you bad results (like focusing on someone's ear instead of their eyes).
I find that focus pulling is already challenging and stressful enough without adding unnecessary math on top of it. It's easier for the user if the lens sticks to the standard than to ask an entire group to adapt to a never-used-before calculation.
What are your thoughts?
I’d be very interested in any comments on this lens used with the Leica SL2 given this mount is included now.
Hi! Is it a good idea to use this lens in a camera's 4:3 setting? Or is it just good for 16:9 and 3:2 ?
You can use it on 4:3, as long as you know your resulting aspect ratio will be 2.12:1, and you might need to crop to adapt to more common aspect ratios.
Heya. Great video. Question. Say I'm currently shooting on an APS-C camera but have plans to upgrade to full frame at some point. And I want to purchase an anamorphic lens set (specifically the SIRUI, for my budget haha) to shoot with. But, obviously I don't want to/can't afford to purchase two whole sets (APS-C & full frame - when the eventual other full frame lenses are released). What would I get on the APS-C body with this lens? Still a theoretical 1.6x squeeze, but just with the same crop factor as I'd see on other Full Frame lenses on an APS-C body? Would I be better served getting the APS-C and using 1.3 clear zoom on a full frame body?
Yes to the first question. And I'd say no to the second. I'd stick with this one because of the stronger squeeze factor (it's not theoretical, it's 1.6x regardless of sensor size). The APS-C set is much more limited in terms of coverage and 1.33 is too subtle in comparison.
Great video, thank you. Wondering why Sirui has decided to use "T stops" on this lens rather than F-stops.
Because it's more accurate!
I'm gonna have to check whether sony a7 has E or EF mount
Hey. Great vid. What is the thread size for the lens support? It's not listed anywhere. 1/4-20?
Thanks. Yeah, standard.
Hey can you please recommend diopter options for this lens thanks.
Anything that's 82mm will do alright. A cheap kit is a good starting point.
What other lenses in the FF range are siuri releasing?
Is this the "Venus" option or the "B-Ware" option? I noticed that they have 2 options on their website. One is $1199 and the other is $1424.
I've never seen anything related to b-ware. I couldn't find it on the website either... :(
@@AnamorphicOnABudget It's no problem, I did some further research and decided to go with the "Venus"
Thank you :)
So to clarify if you shoot on 16:9 ratio (Sony full frame) and desqueeze in post you have to crop the sides?? ie you loose some of the Frame?
Yes, if you want 2.4:1 aspect ratio.
Could you try something with added filtration on this?
I feel like this is the first usable anamorphic at this price point (mechanically...), let's not talk about the Sirui 1.33x...
But it's still way to clean, although better than the 1.33x obviously. I have a feeling if you throw on a 1/4 Black Satin or HBM, Glimmerglass, BPM, whatever - doesn't really matter at this point - it could go somewhere with this lens. It is sharp on it's own - would be interesting to detune this somehow.
Are you able to test this?
Probably, but not immediately. hahaha
Thanks.
Any pathway to Nikon f or pl for BMD ursa?
Okay so would it be better to de-squeeze everything in post by 1.6x, 1.51x, 1.555 (the in-between), or custom based on the shot? Just curious on how to handle that issue correctly
I'd desqueeze everything by 1.6x and not worry about it too much. If any shots look too strange, then experiment with the value. But overall, nobody notices the diffference.
Yes there's light loss to the slower aperture, but even very expensive anamorphics or cinema lenses don't typically go above f2.8. In a lighting-controlled scenario its also not really desirable to get that much bokeh anyway.
What are you talking about, there are a lot of anamorphic/cinema lenses that go above f2.8, even budget ones.
Also "its also not really desirable to get that much bokeh anyway" ??
Some of the most famous DPs shoot wide open all the time
@@kidcoma1340 Sad I need to explain this to you, but what some select people do and whats more common are two different things. 1.33x is barely anamorphic, I'm talking real anamorphic like 1.8x-2x. Even Cooke anamorphics go to T2.3 for full frame and no higher. Use your head. Use google.
@@kidcoma1340 ohhhh sr7sr7sr7 just treated your life with his latest comment. Are you gonna let him talk to you like that?
Do I need monitor to preview the footage ? Will panasonic camera can de-squeeze the images from the back of the camera?
Panasonic cameras can do 1.5x, which is close enough. If you want perfect desqueeze, you'll need an external monitor.
hello there! Greetings from Greece!!
so , if i shoot at 3:2 with these lens and my sony a7iii full frame the only think left to do is to disqueeze 1.6 right???
cause me neither dont like these ''fat'' black lines !!
Yes. But I don't think any Sony cameras allow for 3:2 recording.
@@AnamorphicOnABudget what if we switch to photo mode to use 3:2 and only record with an external monitor? I’m not sure how that would affect the video quality and I would have to connect a mic to the monitor itself.
I don't know if that works, so I can't speak for it. :(
Find it interesting that a lot of reviewers seem to be ignoring Komodo when talking about this lens and how “no camera can de-squeeze it properly”. Or V-Raptor for that matter. Both of which have a native mount this lens comes in and can do proper 3:2 1.6x de-squeeze in camera…plus you’re getting VV coverage on V-Raptor in 7 & 8K.
I get it’s a budget lens and those aren’t exactly “budget” cameras, but they exist and they can do the thing you say “no camera can do”.
I was wrong in that sentence. You're right about that. Yet, the Komodo ain't full frame and the sensor aspect ratio is 1.89:1, so the 3:2 recording mode is cropping the sides of it. The V-Raptor is full frame, but still has a shorter (not-as-tall) sensor as the S1H (21.6 vs 23.8mm), again, with 1.89:1 aspect ratio, which means cropping in.
They CAN do 3:2 recording with 1.6x desqueeze (which was a very hard piece of information to find in writing), but they still don't beat the S1H in terms of sensor height, simplicity and budget.
More specifically on the Komodo, I find it funny to bring up that camera since the big selling point of this lens is being full frame. So you're wasting coverage with the Komodo's S35-ish sensor.
@@AnamorphicOnABudget pretty sure the 3:2 1.6x anamorphic mode info is pretty readily available in the tech specs on the Red website.
Also I get FF is one selling point, and is certainly at the forefront in the spherical glass world. But anamorphic at a more than 1.33x squeeze built like cinema glass should be in a mount I can use at this price point is what sold me. As a primarily S35 shooter, I like having FF coverage if I ever need it, but it isn’t the selling point for me at all. None of the other offerings from Sirui covered S35 or were even offered in a mount that’s adaptable to most S35 sensors. And nobody else is making similar glass at this price point right now for FF or S35 coverage. So limiting the lens to FF sensors only just because it covers FF seems odd to me.
Anyways. Love the channel and the review. Wasn’t aimed at you in particular just seems to be a running theme in reviews I’ve seen. Thought it was curious.
@@TwoShotPics actually, i looked at the time of this review and didn't find anything about the 1.6x desqueeze. I found if afterwards, on some reviews and still couldn't find it in writing! Super strange.
As for coverage, good point there, but Sirui's previous set was very much focused on S35, just not on RF mount, even though you could still get that through MTF services. :)
So if im shooting on an a7siii 16:9 what resolution am I setting my timeline to for cinemascope?
www.tferradans.com/arcalc/go this calculator will help you figure everything out! :)
Hey thanks for this video, you mentioned to manually desqueeze but i don't think there is a way to manually on Davinci Resolve there's only presets 1.5 or 1.8 ... please help 😢
Yes, there is! On the Zoom setting, in the inspector, disable the chainlink and set the horizontal dimension to 1.6. :)
I know it's there because I edited this video on Resolve! hehehe
BOUGHT IT 🙏🏾🙏🏾🙏🏾🙏🏾
Mind giving you thoughts on the new Sirui 50mm versus the old Sirui 50mm + Great Joy adapter? I have all the old Sirui lenses and preordered the adapter, not certain if i should go with the new 50mm as well. What's your opinion? Shooting on a Sony A7S III. Thanks a lot!
If you're shooting on a full frame camera, the upgrade will pay off.
@@AnamorphicOnABudget thanks Tito. And if you‘d have to decide between the new Sirui 50mm and the Greatjoy 60mm?
Whenever I have to choose between two things that are very similar to each other, I usually choose neither. hahaha
where to get the aspect ratio calculator? there are several on the app store...which one is yours?
www.tferradans.com/arcalc/go :)
what do u think about this lens on the Lumix s5 mark 1 ?
I really like it! No complaints.
Nice video. Just my thoughts, china uses metric system, and as a Chinese brand I think it makes a lot of sense to do it that way, Komodo does offer 1.6x squeeze. Cheers
Yes, it makes sense. My point about imperial scales (which I also despise) is that it's the standard in the film industry. So if they wanna break into that rich market, imperial is something to consider.
Do you like this lens over the Vazen 50 anamorphic?
No.
Great work! How is the S1H IBIS (1:5x) with this lens, does it work good handheld?
All of the footage was handheld. To me it held up alright!
@@AnamorphicOnABudget indeed 🙌🏼
Hello really nice video !! Thank you very very much . 1.6 x happens to be the difference between full frame and apsc, is it a coincidence?
Ha! Good observation! I think it's just a coincidence though! hahaha.
I'm new to this stuff but how would it behave with cinema 4k instead of 6k? That's where the sweet spot is for the s5 and s1.
Absolutely the same. The resolution of the sensor doesn't matter much compared to the physical size of the sensor.
Hard to chose between Sirui and Great Joy now…
Hi I just bought a Sirui anamorphic 35mm f1.8 and my camera is Panasonic GH5 and also I have Viltrox speed booster EF-M2II ( used typically for Sigma 18-35mm ). So Sirui offers an ef-mount adapter for their 35mm anamorphic. Will this work to combine 35mm anamorphic mft converted and mounted on ef speed booster and then mounted on GH5?
And if yes how good or bad will be the results?
Thank you
NOOO. It won't work. Check some of my other Sirui videos. Even the opening of this one addresses this question.
@@AnamorphicOnABudget thank you for your answer .
But ! why not? My sigma is also ef-m ( Canon mount ) and is compatible to Viltrox speedbooster (ef-m to mft) . What will happen if I convert my mft sirui 35mm anamorphic to ef-m ( sirui offers this adapter for 35mm anamorphic) and then attach it to my speedbooster for what reason it shouldn't work? I want to know if I will get more extra light oder less crop or it will not work at all . And if not please I need logical explanation to know why not. I mean nothing is impossible right?
man, this lens finnaly a good one from siruwai
Can you put this lens on a Speedbooster?
No.
You say the S1H is “the only camera capable of squeesing the most performance out of the lens” Are you forgetting the Kinefinity Mavo Edge? I do believe it has FF 8k and 4k open gate 3:2 recording modes 🤔
You mean at 3-4 times the price of the S1H?
Z Cam E2-F6.
Ok so how does one properly do a 1.6 de squeeze in premier pro? I only see a 1.33 or 2?
Manually. Use this calculator for the numbers! www.tferradans.com/arcalc/go