“never shoot anamorphic with these cameras”

[@DSLRguide]

Thanks to the support from DSLRguide patrons, I went totally overkill with this video, it got geeky. If you’d like to see the simple process I use for editing anamorphic footage, please consider joining DSLRguide on Patreon: patreon.com/DSLRguide

[@karlromero8861]

It's funny that after 7 years of watching your videos, you still talk about the T3I hahahaha. You inspired me to become a filmmaker and now I am working full time as a filmmaker. Wish you the best! I still remember way back when I first watched you talking about your film and how the bike scene was shot.

[@DSLRguide]

this is so good to hear Karl! so glad to have been a part of your journey, congrats

[@afiveminutemeal]

I second this on every account! Good job man :)

[@daoquang900]

T3i never dies

[@shrivatsar]

I have been watching your channel on a regular basis ever since I got into photography and cinematography. It has been seven to eight years now, and you continue to inspire me. Love from India.

[@animealpha4795]

Been watching your content for 7 years now. Still cheap as always, and eye opening as usual. Been a filmmaker for two years now having worked with all sorts of cameras and being a full time editor and freelance colorist. This is where it all began.

[@DSLRguide]

Thanks for being here all that time! Congrats, so happy to hear you’re doing it :)

[@BTMovieSecondChannel]

04:23 - the colors of this shot are GORGEOUS.

[@smalldeekgeorge]

3:2 sensor with 1.6x anamorphic is perfection. You don't lose any resolution no cropping, no scaling on 2.4 aspect ratio timeline.

[@mysb13]

Probably the wisest young cinematographer in youtube. He made me keep shooting with what I have. He set me free from acquisition syndrome. God bless this young man !

[@dennismenace4188]

I'm shooting with the Panasonic S5 and the Sirui 1.6x anamorphic but recording BRAW to the Blackmagic Video Assist. The RAW formats give a quality bump as they're 12 bit and the resolution is also larger than the internal formats. The anamorphic 4:3 RAW crop is 3536x2656 which is 9.3k versus the UHD 8.2k plus you get BRAW which cuts like butter in Davinci.

[@DSLRguide]

Fair, the S5 is undeniably good value for anyone shooting RAW anamorphic :)

[@decimalWeb]

I've a question, the new BMPCC full frame released yesterday has two modes, 6048 x 4032 (Open Gate 3:2) at full resolution and 4838 x 4032 (Anamorphic 6:5), so for Sirui 1.6x Anamorphic, which one is better option, can we shoot in full res open gate and de squeeze or should shoot in the 6:5 only, can you explain the differences, Thanks

[@smalldeekgeorge]

​@@decimalWeb1.6x definitely!

[@tanvirislamriyad8370]

Before I became 3D animator i used to watch this channel to learn filmmaking It’s been 6 years and it’s still the best channel for learning

[@DSLRguide]

thanks for being here for so long

[@tanvirislamriyad8370]

❤️

[@mauchkimberly]

Thanks. I'm totally in this rabbit hole, and this is an interesting turn on that journey. I've been looking at full frame camera options, and the anamorphic lens topic started seeping into those discussions. So I'm like, what's that? And I'm a HUGE fan of the answer. Love the effects and that look.

[@theyouthfarmerproject]

I remember when I bought my first camera, the Canon t5i, you help me believe I could do as much with my little t5i and yes I did. The feeling seeing you again now all grown after several year is nostalgic. Thank you, you've been of great help. Love from Ghana 🇬🇭

[@DSLRguide]

I'm so happy to hear this, thanks for saying so :)

[@theyouthfarmerproject]

@@DSLRguide ❤

[@BryceDearden]

8 bit 4:2:0 from the a7Sii is a big no go for me. I can’t go back to that.

[@AbdelhamidBoukhatemi]

and u forced to shot in 1080 if u wanna use 60fps

[@JeremiahBostwick]

This is precisely what I was thinking.

[@VariTimo]

100%. I’d rather shoot 1080p in 10Bit than 4:2:0 8Bit again.

[@DSLRguide]

Fair point! Now I might have to investigate the difference between 10bit 422 and 8 bit 420 and make a video about my findings ;)

[@VariTimo]

@@DSLRguide 8Bit 4:2:0 is completely fine as a display format but you really don’t wanna do more than the most basic color correction with it. Another factor is that it’s often coupled with a lower bitrate compression meaning the images fall apart even sooner. With all the 10Bit 4:2:2 it’s really important to mention that you also need less compressed codec so the image doesn’t fall apart. All-I is truly the way to go. Also check out Steve Yedlin‘s demos it you haven’t already. The Display Prep demo is more philosophical and the Resolution Demo is really mind blowing.

[@ellarpc]

I haven’t seen a video of yours in years. I started watching you around 2012 when I got my t3i. All these years later watching this video with bated breath to see what camera you picked and it’s the same camera I’ve been using since it’s release, Nikon Z6.

[@DSLRguide]

Haha love that. the Z6 is great, not that it’s better than others, just that all cameras are pretty good these days

[@freepancakessss]

“2X lenses are Too Expensive for me” Good one Simon 😂

[@davidmultimedia2024]

Excellent! 😂👌🏻

[@darkpheonix69008]

I shoot sirui 1.6x anamorphic on my Canon R6 and love it, having to crop in post it's honestly more of a perk than a hinderance because of the possibility of reframing imo

[@DSLRguide]

exactly :)

[@etfilms9386]

Are u shooting full frame in R6 or 16:9 Also share some insights on crop in post.

[@turgaynergiz]

I still have the good old rebel t5i man. I'd love to shoot anamorphic one day. Love your work Simon.

[@DSLRguide]

hold on to it for as long as you can!

[@WHITEPERSUAS1ON]

Just moved on from my T6i 😭 used it for all of my jobs for years. before that I had a T3.

[@JasonMorrisphotocinema]

always love your videos my friend

[@DSLRguide]

Thanks Jason :)

[@CrispyJacketStudios]

I went down the vintage 2x squeeze route using a 58mm Helios, sankor, and a Slr magic single focus diopter… I finally completed this build just slightly before 1.33 sq ‘affordable’ lenses came out… It’s a beast but, as the 58mm vignettes a bit, losing 20% -25% fixes that also… I should really use it more. The footage looks incredible 🔥

[@charliemcgrain]

Excellent work, sir. Many thanks. I hope you don't mind if I mention, getting 5.9k Prores Raw, FULL FRAME, 422, 12 bit into the Ninja kinda makes the S5 special. I just shot a feature, 25 days at 16 hours a day and didn't have to think about the camera once. The image is pure poetry and because of the S5 Mk II you can now pick up an S5 for $1000!!!!! There is no deal out there that compares. The files are massive, but when you get to post, having the latitude of RAW at 422, 12 bit makes you kneel down and pray. I am a pro film maker, I have shot Red and Arri and this "old" S5 stands right up there image quality wise. I actually prefer the full frame image over the Super 35, but you even have anamorphic IBIS modes!!! But you are totally correct, the best camera is the one you actually own. We are more than blessed with the price and quality of almost all of the pro/sumer cameras out there today. No reason anyone cannot shoot an industry standard movie. I made a doc that got picked up by Netflix on and old Canon T3i. (Ethos, with Woody Harrelson) If I had to recommend a camera today it would be the old S5, you have to watch the rolling shutter and you will break the mini HDMI end of your cables unless you clamp them, but apart from that, 5.9k RAW, FULL FRAME, Prores at 422, 12 bit, all day long, is just unbelievable.

[@bluerabbit1236]

You must be severely math challenged. How's it that it's a steal with a 1k price tag if you have to use an Atmos on top of it lmao. Add the camera and the Ninja, you're looking at almost 2k price tag.

[@pedroblancou]

I m agree.

[@charliemcgrain]

Correction. It is 444, not 422.

[@pedroblancou]

@@charliemcgrain 4444

[@charliemcgrain]

Yes 4444. @@pedroblancou

[@blakepanton2627]

I haven’t seen your videos in years. Congrats on all the success. Great to see your still doing it.

[@DSLRguide]

Thanks Blake, I’m glad you came across the vids again :)

[@4sightfilmsLLC]

Fantastic video! 🔥🔥🔥

[@RDMracer]

As I'm mainly a sports photographer, and video is a far 2nd, I guess I'll just wait for the S5II to become cheap some day. Given your advice, I think I'm going to stay away from anamorphic a good while because of that, because I am shooting on MFT right now. (And staying with the system for now too)

[@DANAMIONLINE]

Simon, this video destroyed my dreams of the Moment adapter. Yet, it make me wonder about the taking lenses used in that test footage. Now I'm thinking aloud - the moment adapter offers flexibility in different looks based on your taking lenses; to me, that's cool. To your point, any squeeze higher than 1.3x will yield more robust anamorphic qualities.

[@threethievesmusic]

Hey wondering if you could help. I have been using an iPhone with Moment anamorphic lenses and Filmic pro. For the price it's great and the work flow is fast, however I'm tempted to upgrade to a 'real camera' but have no idea where to start. It's an endless rabbit hole. All I want is a good value option to shoot anamorphic. Obviously there are multiple factors in price points plus a new learning curve, any tips welcome. Thanks!

[@VariTimo]

The fact that 1.33x lenses don’t look as anamorphicy also comes down to the design choices the manufacturers made. In the case of Sirui, a Chinese manufacturer with no inherent cinematographic background. I have an old SLR magic 1.33x 50. That paired on my GH5s with my Veydra 25mm gives me extreme Panavision C-Series vibes. I also think shooting anamorphic is about the different magnification compared to spherical, which is very apparent with 1.33x glass for a 2.39:1 image. The bokeh and flare come afterwards. Also look at Rogue One and Hateful 8, those were shot with 1.25x anamorphic lenses! And to be clear, the cinematic gold standard is 65mm film.

[@wkghrs]

SLR magic optically has a ton of character even if they have a ton of flaws. It really does give that traditional CinemaScope flavor we love.

[@VariTimo]

@@wkghrs I think their 2x lenses and their fully anamorphic lenses are pretty trashy. Especially after they changed it to the green coating and getting rid of blue flares. But that 1.33 50 really looks great. Especially in the T2 to T4 range.

[@dvdaltizer]

I love that you have been so incredibly consistent for all these years. Hope to meet in person one day, brother!

[@DSLRguide]

thanks man! Lets do it, any plans to go to IBC in Amsterdam?

[@brandonklemets2958]

Z6 with an Atomos Ninja V makes the video performance (minus some autofocus quirks) better than much newer competition. 10-bit 422 cant be underestimated.

[@DSLRguide]

sure, but it's also more expensive than a S5ii if you have to buy the ninja :)

[@NaliamCantero]

Great video, own the s5 and doing the crop with the sirui 50... Thinking in buying the 100mm

[@aleckgardner6845]

I just wrapped shooting my grad film, we shot with vintage 1970s KOWA anamorphics and an Alexa Mini. Most of the kit was free from uni, including the ARRI, but we had to rent externally for the lenses and get insurance which wasnt cheap.. Hopefully itll be worth though! Anamorphics on a budget would be amazing.

[@mauchkimberly]

Since this video is oldish now, Lumix S9, while not the "cheapest" allows you to decompress your anamophic images in camera (not sure if this is included in Lumix s5iii also, but it might be. It is an advertised feature in the s9).

[@WhiteRabbit-ci4oy]

I must say i waited him to mention Canon 600D or 550D with Magic Lantern update for anamorphic shooting but i feel like this time has passed by. Haha. Amazing content!

[@MORPHPICTURES-m7c]

I absolutely love your production quality bro, Incredible work!🔥🔥🔥

[@ZToT]

Interesting idea.. But! My problem is that bokeh and flare is not the only thing about anamorphics. The lens characteristic is an important aspect. The imperfections near the edges, bokeh distortions etc is what makes a lens/video unique. Cutting edges destroy the characteristics. How about using 2x s35 anamorphic in fullframe? Theoretically it could work, there are vignettes in the sides but thx to the 2x it will be cutting out. The idea is came from that I've seen ppl using the red komodo (s35) with m3/4 anamorphic (vazen) lenses. That is a similar workaround

[@theodorspikermann5455]

Nice content! But why did you not consider the sigma FP wich basically has the same sensor as the Panasonic s1h really great lowlight performance and it is really cheap? Also the raw capabilities and the great amount of cropping modes.

[@imabigsandwich1292]

because the 4k cdng mode is pixel binned/line skipped, not a full sensor readout like the s series, and if you want a compressed 10bit option or log unfortunetly there isn't one yet.

[@DSLRguide]

I think it’s more expensive than the S5mki and the Sony a7s :)

[@damiencooper]

I don‘t actually agree with the conclusion tbh. One big factor of shooting anamorphic is barrel distortion and the character in the bokeh that mostly happens on the outside of the frame. Which we would then cut off. I‘m surprised you didn‘t mention the BMPCC6K in your video

[@DSLRguide]

thanks for commenting Damien :) I agree that larger sensors will show more of the character at the edges of the frame, but if open gate 4:3 was good enough for most shots in Bladerunner, and all the movies recently shot on the OG Alexa with 4:3 S35 sensor, it’s good enough for me on a tight budget!

[@damiencooper]

@@DSLRguide oh. Weren’t you talking about 16:9 sensors and cropping off the sides?

[@DSLRguide]

(just saw this comment, apologies for the late reply) Number one issue with the BMPCC6K is the EF mount, not many options there for anamorphic lenses. I'm pretty sure the BMPCC6K would have less barrel distortion than a Sony Full Frame camera with the edges cropped in post. If my maths is correct, a 16:9 S35 a sensor, after desqueezing and cropping to a standard anamorphic aspect ratio would have a smaller image circle / FOV than than the 4:3 S35 sensor I've "created" by trimming the edges of a 16:9 full frame sensor.

[@StarskiYall]

Thank you so much for this video. I recently got the Sirui Saturn 35mm 1.6x and I have the a7siii. I’ve been racking my brain if I need to switch to Panasonic to get the anamorphic modes or how much quality I’m gonna lose by cropping off the ends. I’m heavily invested in Sony so I’d very much rather not get a whole other system. Everything else about the a7siii is just fine for except if it just had a open gate or anamorphic mode.

[@DSLRguide]

Perfect example of where cropping your 16:9 in post would be a great solution! You can use any of your preferred frame rates, codecs etc from the impressive a7siii, without needing a whole extra camera just for anamorphic :)

[@iceman10129]

Movies like The Creator and all these anamorphics coming out of China and Japan that are E mount are all going to help us Sony people. I could see the next S model shooting 3:2.

[@StarskiYall]

@@iceman10129 I hope so. That would be one of the only reasons I’d upgrade and if they added global shutter from the A9

[@Moriarty2007]

I remember that times when you were a teenager(and mee too). Many years, I'm happy to watch your videos! 😉

[@DSLRguide]

thanks for being here all this time :)

[@zo.mp4]

Sad you didn’t mention the GH6 but great video as always

[@DSLRguide]

Is the GH6 much different than the Gh5 when it comes to sensor size?

[@avrahampatino2580]

I would’ve mentioned the gh5s

[@coastmale]

warning to anyone who wants to get a a7sii for anamorphic. THE ROLLING SHUTTER WOULD PREVENT YOU FROM EVEN THE SIMPLEST PANS. anamorphic lenses increase rolling shutter distortions significantly. getting a used s5 is a much better option and if you can wait until the r8 starts getting cheaper that is also a significantly better option.

[@DSLRguide]

I havn't tested it, but I don't see how anamorphic lenses increase rolling shutter, can you explain your thought process?

[@coastmale]

@@DSLRguide so imagine your normal rolling shutter sensor, the readout speed is how long it takes to read each horizontal line from top to bottom. I want you to imagine a straight vertical line, a 1 dimensional line. When you pan the camera there will be a horizontal displacement from the top of the frame to the bottom of the frame as a result of this rolling shutter sensor. The slower the readout the bigger the displacement would be the worse the rolling shutter displacement would be. Now imagine adding an anamorphic lens and doing the same pan, the vertical line being one dimensional will have the same amount of horizontal displacement from top to bottom before desqueezing since the sensor will have the same readout. Once you desqueeze the horizontal displacement will be worse with the desqueeze. Now if you pan slower you could mitigate it somewhat but keep in mind the a7s2 has a rolling shutter measurement of 30.4ms. it is one of the worst in terms of rolling shutter performance in 4k. Moderate pans will show a lot of jello. Forget ever shooting out of a moving vehicle even without an anamorphic lens. And if using an anamorphic lens it would make an already poor performance outright abysmal. The Panasonic s5 on the other hand has the aps crop 4:3 which has a much better readout at sub 15ms so that when an anamorphic lens is placed the performance wouldn't be too bad. If you want the outright best anamorphic rolling shutter performance, going with an a7s3 or a Fuji xh2s is your best bet. The open gate recording in the Fuji is very close to the field of view of the academy 35 4 perf film and has a readout of sub 6ms in open gate mode in anything except FLOG 2. In FLOG 2 the rolling shutter goes up to 11ms which is still great for an open gate recording especially considering you only need a 1.6x to get a 2.4:1 aspect ratio. The a7s3 has a rolling shutter performance of 8ms in 16:9 4k mode. A7s3 doesn't have an open gate mode. If you want to get rid of rolling shutter entirely the red komodo or the zcam s6g are the only options under 6k. I shoot out of moving vehicles a lot that's why I care about rolling shutter personally. But if you never pan or have any fast motion it shouldn't matter.

[@jamesbonaiii3278]

Louie, how about an R6?

[@coastmale]

@@jamesbonaiii3278 not as bad but still pretty bad. R6 mark ii has the new sensor with faster readout.

[@chromaticvisuelle]

@@coastmale where can we find out about other cameras's readout time please?

[@Isaharif]

This was a good one. Thank you.

[@kevinforget549]

I really like panasonic cameras (s1) but what really kills it for me is the hdmi lag which makes using manual lenses very difficult if not impossible to time as you have your reaction time of 150-300ms plus the hdmi delay of 270-350ms at the monitor so you can be falling behind or overshooting by as much as 0.650 of a second which is very noticeable. The moment they fix this i'll be going right back to them.

[@RockWILK]

Yes! I've been shooting with the Sirui 35mm f/1.8 1.33 anamorphic and it's awesome. I'm about to sell it though, to get one of the full frame anamorphics, probably the 35mm, for the exact reasons you're highlighting in this video. Closer to the real anamorphic standard, and still pretty affordable, and all awesome on my Panasonic S5. (the original one) Cool video, thanks for sharing. Oh, and I don't need to use my external monitor because I can de-squeeze the image in-camera, so there's that, too. ;)

[@DSLRguide]

nice :) I’d trade my Z6 for a S5 if I could find someone willing to trade haha ;)

[@RockWILK]

@@DSLRguide that’s a tough one. 😉

[@pedroblancou]

I shot a shortfilm in Lumix S5 + Atomos ninja V + Cooke Anamorphic in 6K Apple Proress Raw 12 bits. If we ignore the Atomos it could still have shot in 4K 10 bit 422 internal. I think it's worth the extra $200. I'm not too sure if the A7SII shoots in 10 bits. However, I would invest $200 + to have the possibility of external recording in RAW 12bit 6K. In addition to all the tools for anamorphic shooting that comes in the S5.

[@Mionwang]

Perfect video!

[@maltsday]

Luckily I got my S1 used with Vlog Upgrade for 860$, it works perfectly! Although I can't afford a fullframe anamorphic lens and went with a helios 44-2 + Sankor anamorphic projector lens, so I have to shoot in APSC.. At least the squeeze factor is 2x so it works for me!

[@DSLRguide]

That’s an excellent price, nicely done!

[@joemonteithcinematography7477]

I would love to see a review of the Nikon Z6 from you! Also your color workflow. Do you shoot NLOG externally most of the time? Or do you shoot internal? If so, which picture profile do you use?

[@DSLRguide]

I used it for years without log (neutral picture profile), then got a ninja a couple years ago and have been shooting log mostly since. Now the ninja has broken and I’m considering going back to 8bit internal haha

[@joemonteithcinematography7477]

Nice! I’d love to see a grading breakdown of the 8 bit neutral footage! Have you tried Nikon FLAT too? Also if you want 10 bit you should consider the Atomos ninja star. Small enough that it doesn’t add a lot of weight but you can keep the 10 bit log. Battery lasts forever too. Set z6 record setting to 4k and HDMI output to 1080p and it can output an oversampled 1080p image to the ninja star, all in 10 bit LOG. I have both the star and ninja v and love the star for its small compact size.

[@DSLRguide]

just saw this comment, thanks for the idea!

[@joemonteithcinematography7477]

do you shoot in neutral with the contrast and saturation at 0?

[@kevinbillington9773]

I'm happy with my S1H, I will keep for another few years.

[@dronelabitaly]

Hi, I've been subscribed to your channel for a long time. I always follow you, even if I have some difficulty understanding English. Can you give me some advice? I'm starting to make video shorts of 3d printing show at home, could you recommend some equipment, including camera and lenses, to create good movies? Thank you.

[@nicklaytonUK]

I'm just about to buy my first full frame anamorphic and it's taken enough time for me to realise that either 1.33 to 1.6 is enough as I am not shooting 'The Battle of Waterloo '. My only obvious question to you relating to quality is that rather than shoot on the 16/9, shooting in open gate allows more quality. Thanks for all your informative and entertaining videos.

[@kazlepek6552]

1.5x and up is good, 1.33x is just about spherical

[@SergeyMoskvinStories]

Have you matching footages of s1h and bmpcc 6k?

[@FrancescoRosiglioni]

You don't have to worry about the loss of resolution when you crop the sides if you shoot anamorphic on a 16:9 sensor. I wouldn't see it as a loss at all, you just are doing manually something that other cameras do automatically. Most super35 cameras that are able to shoot anamorphic (BMPCC 6k for example) just crop the 16:9 sensor to a 4:3 sensor and desqueeze the image in camera. That's a useful feature to facilitate the workflow but from a resolution and overall result standpoint doesn't change much. Same goes for the full frame cameras. The vertical resolution stays the same and that gives you enough. It is a little different if you shoot on high end cinema cameras like the arri Alexa. Most of the super35 Alexa cameras have a native 4:3 sensor that is taller than a super35 16:9 sensor (it adds to the top and bottom of the 16:9 aspect ratio to get a 4:3 instead of cropping the sides) and therefore gives you an almost perfect field of view comparable of what you would get if you would have shot anamorphic on super35 film. If you're on a limited budget and you have to use a cheaper camera and you want to chase a true anamorphic look I think it would be preferable to use a full frame camera and eventually crop in a little bit if by any chance you get too much vignetting on the top and bottom of the image. I'm sorry for the long comment, I just wanted to add what I hoped could be a quick technical clarification in case the apparent loss of resolution on a 16:9 sensor may result daunting for someone.

[@jayclas4023]

The A7s2 is only 8 bit right?

[@DSLRguide]

that's right

[@OTRmotors]

How about Fujifilm X H2S open gate 3:2 with 1.6 lenses. Should give almost exactly 2.39:1 aspect ratio. My only concern is what possible adverse effect will 1.6x anamorphic such as Sirui full frame give on an APS-C sensor such as Fuji X H2S. Could you comment please?

[@chromaticvisuelle]

I have a Nikon Z6 too!!!! Loving it :)

[@Whaever_1981]

Just to be clear, cropping the sides is something you do in post right? In other words, if you frame in 2.35:1 on an external monitor with desqueeze, you'll have to add tape or something on to the sides of the monitor, so you can focus on just the frame without the distracting sides (that might or might not be useful for reframing in post). Correct? :)

[@DSLRguide]

yes, that's right - cropping in post. Plenty of monitors have an option to scale up the display so you can have a larger image without applying tape, but if not, tape would be a good temporary solution :)

[@Whaever_1981]

Great, thx for the reply. When you say scaling on the monitor, wouldn’t that crop out the top and bottom (which you don’t want)? Or can you scale on x axis only? Which monitors can you do this with? I have a ninja v but don’t think it can do this :) Again thx for so much for the help!!:)

[@DSLRguide]

there's two types of scaling, first is 'desqueezing' which would need to be a horizontal only, and most monitors these days have this (portkeys, feelworld etc) but some of them will also let you zoom in as well, after the desqueeze has already happened. This means you don't need tape. I don't think portkeys displays can do it, but I'm pretty sure smallHD can, and possibly feelworld too. Not aware of a way to do it with the ninja V, but I think it can put a digital marker on the sides so you don't have to use tape

[@dikkaneguzman266]

I have a Sony A7III and am thinking of buying an Anamorphic lens from Sirui (35mm Saturn). Do you think I should buy a new camera first or could I get away with using my A7III?

[@thefrenchexpedition]

Why not a7 IV. You get a 35mm and a 52mm out of it with aps- c mode?

[@taunohill6710]

What about the GH5S, it has a little bit more perceived field of view compared to the GH5

[@DSLRguide]

still smaller than the A7sii after cropping

[@etfilms9386]

Hi.. how shoot shooting in R6 with sirui in full frame mode. How much would it crop.

[@Mattcarter_]

Help ! I have dark corners when I am shooting in my 35mm anamorphic lens on my Sony A7V. I stretched it on Premiere Pro, but I still have those dark circles and it looks super jello-y. Please advise!

[@DSLRguide]

There could be a few things happening here, but I’d removing any filters or accessories on the front of the lens to improve the dark corners, and if that doesn’t help, you can use “clear image zoom” to crop the edges in camera. As for the jello effect, I’d consider turning off IBIS and any other stabilisation you might be using in Premiere

[@christodec]

very good video!

[@DSLRguide]

Thanks Christo

[@ozzozz3529]

Bro i brought cooke 35-140mm anamorphic lens. When i checked it on red gemini camera. The footage is so so soft and not at all clearity. Cinematic is far away. No idea why. I desqueezed it but no solution.

[@lostlaas3202]

I'd like to find the best Canon camera (similar to the A7Sii) to work with this anamorphic lens. Can you suggest the best one? I'm on a budget, so the cheapest to match the A7Sii ideally

[@ParijatVideographyOfficial]

Can I attached anamorphic lens in Lumix G-85 ?

[@detectivemcguffin9910]

Already having the A7siii means i now have a MASSIVE temptation to get one of those Sirui lenses

[@DSLRguide]

Haha I thought I was saving people from buying new cameras but I was actually encouraging to buy new lenses ooops

[@pk_fauxtaux]

​@@DSLRguidelmao

[@chrisklugh]

I think there is too much of an obsession with anamorphic lens. They have their place, but too many examples come to mind where they were not necessary but people used them just because. Story > Trends

[@DSLRguide]

Fair point Chris, and as they get cheaper and cheaper, it’s only going to happen more often, so we should be mindful of that :)

[@chrisklugh]

@@DSLRguide Ya, don't get me wrong. If its just a matter of affordability, sure I would have a set. If I had a need. The anamorphic lens thing reminds me a lot of the DSLR days where everyone was preaching FF Fast Lens for shallowest DoF as the holy grail of things. Then ironically enough when you look into the Professional Film Industry (Movies) the average FStop is f5.6. So you get all the KZbinrs preaching f1.8 or lower is the way to go, but the stuff you actually see on TV is mostly 'slower'. I think a lot of KZbinrs abuse the fastest lens. People buy on trends, those trends become traditions, and those beliefs are hard to break. Those breaking them, the true creative types, use tools to make better stories. They don't constrain themselves to just one tool or method. That's not creativity. And the tools don't make the story, just sells it better.

[@ryanleethomas]

Any recommendation for your 16:9 workaround on APS-C? Working with Canon in this vein and particularly enjoyed your technique.

[@DSLRguide]

For APS-C, the process is exactly the same, you'll just need to use wider lenses & expect a deeper depth of field than the 'gold standard' I was chasing in this video, since the sensor size after cropping will be smaller than opengate Super35

[@nwonomad]

The only issue is the A7sii is limited to 8 bit internal recording unless you use an external recorder and that makes gimbal work an issue

[@kinoromantic]

Shame Sirui doesn't make PL or EF options. It would have been amazing if they did. On a super 35 sensor my only options are 10,000$ a piece Atlas anamorphic :')

[@marceloantonio4678]

Wym, they do have ef lenses

[@JeraCravoMyself]

Great video!! Subscribing

[@meetmikee]

Hoooooooly shit you've grown 😅. So happy to see that you're still doing what you love- filmmaking 😀

[@DSLRguide]

Haha I had braces when I started this channel 10yrs ago! Thanks Mike :)

[@Nashcasts]

what are your thoughts on using 2x on 16:9?

[@Thevikingcam]

S5 and used ninja V with 1tb ssd under 1200€. 5.9K RAW anamorphic with 1.33 lenses. Forget anything else.

[@sebastianlang1014]

I am wondering what the resolution is after taking the 16% of the sides? 🤔

[@DSLRguide]

3840 * 0.84 gives us 3,225 horizontal pixels :)

[@sebastianlang1014]

@@DSLRguide Thanks Simon! Am a fan and following you since the beginnings! 🙌

[@connectronbuilds9960]

Awww, I thought you were gonna talk about going ultra budget and using a panasonic G7 in 4k photo mode that shoots in 4:3

[@Clos12310]

Will these lenses work on the og bmpcc?

[@DSLRguide]

the sirui's won't, but the Great Joy's could work with an EF-MFT adapter

[@Clos12310]

@@DSLRguide Thank you for the reply and info!

[@EWmedia]

Gh6 Open gate 5.8 anamorpic is very nice to

[@jeam1998]

What about the LUMIX GH6?

[@DSLRguide]

still a smaller sensor than open gate Super35 :)

[@hoozentroger]

I got my unboxed S5 i for 1000$ with 1 year guarantee, it was sold as used but wehre in fact never used! I love the image of the z6 but no internal Log is an insult, as well as the lack of video features. I cant live without waveform...

[@DSLRguide]

that's a great deal! for me, log is a luxury not a need

[@LouisLuzuka]

What about shooting anamorphic with my iPhone and a moment lens ? 😮

[@DSLRguide]

Can do, I would imagine that the Bokeh won’t be noticeable in 95% of shots due to the small sensor on the iPhone, but it’ll definitely give you the widescreen aspect ratio & anamorphic flares :)

[@AbdelhamidBoukhatemi]

quick information the auto focus on the sony a7sii isn't really that good that good

[@thelefthandofcreation1617]

And since anamorphic lenses are universally manual lenses, the autofocus performance is irrelevant in this context.

[@AbdelhamidBoukhatemi]

@@thelefthandofcreation1617 i said that cuz he mentioned that a7sii have a good auto focus

[@thelefthandofcreation1617]

@@AbdelhamidBoukhatemi Ah, my bad - yeah, Sony has definitely dramatically improved on that front from that generation of camera for sure

[@SantiagoMonroy5]

Is it just me? but i actually really like the ultra wider ratio over the cropped version.

[@jayforcinema]

I really love some of the content on your channel, but the cheapest option you suggest is kinda meh. The 8 bit image falls apart way too quickly, and the combination of poor battery life, even worse IBIS, general ergonomics make the a7S II a camera that's just barely worth the 800 USD one could throw at it. The Lumix S5 and the Lumix S1 cameras are going for around 1000 USD in the used market, and offer a much more robust set of features, especially for anamorphic. The 10 bit image, in-camera de-squeeze preview, anamorphic oriented stabilisation and assist tools make them a league ahead of most options mentioned here. If you are going for the truly cheapest options, though, the Fuji X-T3 is available at around 550 USD, and paired with a cheap Sirui anamorphic, it becomes one of the best cheap entry level options for anamorphic shooting (assuming you can live with 1.33x crop). It has some similar issues to the a7S II, but at a cheaper price point. Or does Fuji not work for your style of shooting?

[@DSLRguide]

Fair, i think im going to do a deep dive on 8bit vs 10bit, I have a sense that it’s worth paying a little more for, but I havnt done much side-by-side to prove it! Paying an extra $200 for the S5 over the a7sii would make sense for anyone less frugal than me haha

[@jayforcinema]

​@@DSLRguide If you do end up doing a deep dive, it might be quite interesting to see a 8 bit vs 10 bit vs 12 bit comparison. Blackmagic cameras can record 12 bit, for example. Extra 200 USD is definitely a bit of a bummer, but since you do use anamorphic glass which isn't cheap itself, it's not that big a jump. Plus the option to shoot handheld while using anamorphic glass is a blessing unique to the Lumix line :)

[@ThePrinceVincent]

Like I previously said, don’t invest your money on expensive bodies that’s unnecessary. Invest your money on lenses like a Leica Summilux or a cinema glass. In my case I tend to invest in cinema lenses or spherical interesting lenses like the zeiss planar 85mm or a Leica Summilux 25mm

[@panatela001]

What's a good budget monitor?

[@DSLRguide]

link in the description :)

[@kingblastofficial]

Why dont i just use my phone with a 1.55 anamorphic adapter, for mybe $500 or less, just make sure i shoot in daytime and not worry about color grading ...or maybe a go pro

[@VilkanVisions]

You might consider Blackmagic cameras next time :)

[@DSLRguide]

Sure, they do the cropping in-camera, but because they aren’t full frame, it’s kinda like the GH4, it’s a smaller sensor area than open gate super35 film

[@NawaSena_]

un expected plot twist haha

[@wkghrs]

Modern budget anamorphics lack unique qualities of anamorphics like curvature, painterly bokeh, and barrel distortion. This is why cropping the edges on a 16:9 sensor doesn’t seem to change the look much. If you use vintage glass or more traditional optical formulas, the 16:9 sensor will throw away some of the most important parts of the image when cropped to 2.35

[@DSLRguide]

that's true if your comparison point is open gate full frame. However, if you're using Super 35 anamorphic lenses (while cropping fullframe 16:9 to S35 4:3) then you'll only crop out the vignetting, and retain all the character at the edges.

[@arifikhwan2194]

Great vid elon 😅

[@charliemcgrain]

Nice work, bro. Thanks. I shoot S5 into the Ninja and get Full frame, 5.9k Prores RAW at 12 bit, 422. I got an open box deal for 1,400 bucks. The image is poetry.

[@mychalsimmons4177]

Awesome

[@SpirusFilms]

Original BMPCC!

[@DSLRguide]

the sensor is too small to match our 'gold standard' of 4:3 super 35 film

[@Markplaats-x1h]

anamorphic look sums up like this: oval bokeh (doesn't tingle my tootsy), very wide flares (I don't like 'm), nice soft 'organic' roll-off and image quality. owja... and a frame-ratio that is actually very useless for normal screens. you don't see more on the sides, you just see less on the top and bottom - even though the screen COULD show that... so that's a loss, really. unless you shoot for the movie theaters you're a fool to think NOT utalizing 1/3 of the screen your footage is shown on is a win.

[@DadOfWar86]

Sad I am going to buy Sony fx30 it’s not full frame :(

[@DSLRguide]

still a very capable camera, just not the cheapest camera for recreating Super35 anamorphic film

[@Big-GVideo]

I'd apply caution to using Fat Llama

[@DSLRguide]

Did you have a bad experience?

[@Big-GVideo]

@@DSLRguide Sadly I did and it was enough to stop me renting my gear out using their service

[@somethingtojenga]

It hurts me when you say 'just crop the sides' of anamorphic footage

[@Goose619]

Fuji Xh2s is the camera you were looking for

[@chuckshreve3866]

When are you going to get into the Magic Lantern game? Get yourself an Eos-M for $250, throw ML on it and you'll see the light.

[@DSLRguide]

if you look really closely in this video, you'll see an EOS-M in the background. working on a video ;)

[@jmoss99]

So, an A7Rii would be just as good. Right?