SLR Magic Anamorphic 1.33x Anamorphic Adapter

October 23, 2013October 24, 2013

I had a chance to play with a near final version of the new SLR Magic 1.33x Anamorphic Adapter today with Andrew Chan.

This adapter is a completely new design from other anamorphic adapters I’ve used. It has unique focusing abilities which give it the strengths of single focus designs like the Panasonic LA7200 with the added capabilities of what you’d find in dual focus anamorphic adapters like those from Bolex or Kowa.

In its normal focus mode, with the SLR Magic 35mm T1.4 CINE II lens, you get a picture that can focus from 2.8m to infinity.

The lens also has a NEAR mode that works as a variable built in diopter. This works by rotating the ring on the anamorphic adapter towards the “near” marker on the adapter barrel when an object is closer than 2m and it moves the rear element of the adapter changing the focus capabilities of the lens. It’s easy just to think of it as a macro mode, and something I’ll cover more in depth on video when we get a copy of our own.

You might be wondering, how does this differ from an LA7200? It is a completely different type of adapter.

First, this lens is best pared with the SLR Magic 35mm T1.4 CINE II, which has been beefed up to not have lens slop while the anamorphic adapter is attached to the taking lens. Use the LA7200 enough and it will make even the most robust metal slr lens start to slop from all the weight hanging off the end of the filter threads.

Second, the LA7200 does not work at 35mm, not even close. You can fudge it with diopters, but the edges of the image will be an unfocused mess.

Lastly, this is a brand new lens with a warranty, not something you have to get lucky on an eBay auction. Every lens will work and look the same. If you have a problem, it will be simple enough to get actual support.

Image Quality. I look forward to having more time to shoot with the SLR Magic anamorphic adapter in the upcoming months, but in the few hours I tested it I can give you some of my opinions. First of those being that this adapter is in no way a copy of any anamorphic adapter that has come before it. Testing the lens at infinity gives this away quickly as none of the other adapters can do 35mm without some degree of edge blurring.

When the lens enters it’s “NEAR” mode that works as a variable diopter, you can get some fantastically sharp images as well as exaggerated bokeh. The lens appeared to be out resolving my BMCC, which is something my LA7200 could never do, so I’d like to see what it does at even higher resolutions.

The closest new and available 1.33x option that you could compare would be a Hawk V-lite 35mm at somewhere over $40,000. For a fraction of the price …

July 9, 2012

Bolex Anamorphot 8/19/1.5x Compatibility chart

Before we get into Bolex tutorials, here’s a chart showing basic compatibility with different cameras. Canon DSLRs will be similar to the Red Scarlet at 4k.

Optimal Prime Wide (widest with no vignette up to f22)
Panasonic GH2: 40mm
Black Magic Cinema: 31mm
Red Scarlet 4k: 46mm
Red Scarlet 3k: 37mm

Widest Prime with minimal circular bokeh
GH2: 35mm
BMC: 28mm
4k Red: 40mm
3k Red: 32mm

Absolute Widest – no vignette faster than f2
GH2: 28mm
BMC: 22mm
4k Red: 32mm
3k Red: 26mm

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May 26, 2012

I’ll post more information and links when its done, but right now I ‘m working on making a new series devoted to the Bolex Moller Anamorphot 1.5x anamorphic adapter. Here’s a sample of the lens combined with the Konica 40mm 1.8 taking lens

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April 17, 2012April 17, 2012

1. Make the mount extender detachable.

Right now the Canon EF/Nikon ZF mount sits past 40mm from the sensor. I know I went over this in my last post, but by reducing this distance to NEX or 4/3 20mm distance, a whole range of lens options open up. Lens options that work better with the 15.6mm wide sensor (2.1x 35mm FF crop)

2. Allow for line skipped higher framerate modes.

Cameras like the new FS700 change the sampling of the sensor to allow higher framerates. For instance, at 240fps you see a decrease in vertical resolution over the 120fps and slower modes. Certainly there may be limitations with the onboard cpu that might make this impossible, but if it is, people will gladly take a small resolution hit to get 60fps, or even 48fps like the Scarlet X at 3k. At the same time, it is also important, even without higher framerates, to have ramping options available in camera from 1-30fps.

3. Timelapse mode.

It certainly hasn’t been mentioned yet as far as I can tell, but a RAW timelapse mode would be incredibly useful for this camera. Settings for variable slow speed frame rates as well as long duration shutter exposures would be equally useful.

4. RGB Histogram.

Monitoring the image/exposure should be done exactly as Red does it. They’ve perfected the RGB histogram and it is essential for RAW cinema applications. Shutter should also allow for settings in shutter angle as well as further synchroscan settings for shooting monitors and other equipment.…