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Hurricane Images
United States
Registrace 1. 06. 2015
High impact imagery designed to move- move people, move companies, move ideas. Hurricane Images Inc. is an Oakland-based video production and photography company that creates powerful, compelling video and still imagery for companies and individuals. We help our clients merge marketing goals and media production. Over the past decade, we’ve garnered multiple awards and taken nearly a hundred projects from concept to final product.
The Epic SLR Magic Anamorphot 40 Review
Is the Anamorphot 40 a better choice than Sirui's 50mm T2.9 or the Great Joy 35mm? Can it compete with $9K anamorphic lenses like the Atlas Orion series? I took a deep look at the power, quirks, and shortcomings of SLR Magic's Anamorphot 40, arguably the cheapest quality-oriented option for going anamorphic and asked, "is it a professional tool or a toy?" It turned out to be a very complicated question, so I've included a ton of test footage and examples.
If you want to learn more about anamorphic lenses-- especially those that cost under ten grand, you have to check out Tito Ferradans CZcams channel, Anamorphic on a Budget.
INDEX:
0:05 Pros and Cons Summary
0:53 Introduction - why anamorphic?
2:22 The best argument for anamorphic
3:25 Why I chose the SLR Magic Anamorphot 40
3:53 The basic specs
6:04 What it's like to use
6:32 Pricing
6:42 Making a set of anamorphic lenses
7:31 Unpredictability with individual lenses
8:26 Comparing to spherical lenses
8:53 Barrel distortion
9:12 Chromatic aberrations
10:07 Contrast
10:19 Bokeh
10:48 Sharpness
13:20 Dual focusing system
14:40 Autofocus
14:47 Focusing tip for Sony users
15:22 Viewing on cameras without anamorphic de-squeeze
15:33 Thoughts on operation in the field
15:43 Single focusing systems: SLR Magic Cine Rangefinder, Rapido 16A
16:58 Varying de-squeeze issue
17:55 Flares
18:27 Unpredictability issues
18:55 General impressions
20:24 Close focusing advantage with the Anamorphot
20:49 Drawbacks review
21:43 Strengths/advantages review
23:16 Can you use it for professional work?
26:57 Conclusion - wrap up
29:11 What about the Anamorphot 50?
If you want to learn more about anamorphic lenses-- especially those that cost under ten grand, you have to check out Tito Ferradans CZcams channel, Anamorphic on a Budget.
INDEX:
0:05 Pros and Cons Summary
0:53 Introduction - why anamorphic?
2:22 The best argument for anamorphic
3:25 Why I chose the SLR Magic Anamorphot 40
3:53 The basic specs
6:04 What it's like to use
6:32 Pricing
6:42 Making a set of anamorphic lenses
7:31 Unpredictability with individual lenses
8:26 Comparing to spherical lenses
8:53 Barrel distortion
9:12 Chromatic aberrations
10:07 Contrast
10:19 Bokeh
10:48 Sharpness
13:20 Dual focusing system
14:40 Autofocus
14:47 Focusing tip for Sony users
15:22 Viewing on cameras without anamorphic de-squeeze
15:33 Thoughts on operation in the field
15:43 Single focusing systems: SLR Magic Cine Rangefinder, Rapido 16A
16:58 Varying de-squeeze issue
17:55 Flares
18:27 Unpredictability issues
18:55 General impressions
20:24 Close focusing advantage with the Anamorphot
20:49 Drawbacks review
21:43 Strengths/advantages review
23:16 Can you use it for professional work?
26:57 Conclusion - wrap up
29:11 What about the Anamorphot 50?
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Wow, that sE8 sounds fantastic. While I was planning to get an sE7, I might upgrade straight to sE8.
what is the difference with this and the PONS PT Motorized Pan Head?
This is a double motor unit; the motors are identical. You connect the bottom one normally, and use the bracket to place the top one on its side. The version that you're referring to is simply a single motor version of this.
@@hurricaneimagesmedia thank you for the explanation :)
Does it work with helios 442 lens?
Great review. Thanks.
Thanks for your video! FYI: I exactly NEED the pause function at each way poing (6:40 in your video).
what a beautiful review. thanks for putting the effort into this video! so helpful! :)))
The light no longer has a noise issue. The complaint was heard by Nanlite and corrected with a firmware update.
Nice to know, thanks!
Great channel! The work you put into your videos, and your level of expertise is apparent.
It is so sad that you have no idea what you're talking about since you begin by saying there is no difference between a cine lens and your photo optic. WHEW... go work on your lighting since you look like you're in a cave...
Nothing better than a well-researched product. Thank you
The light no longer has a noise issue. The complaint was heard by Nanlite and corrected with a firmware update.
Thanks, I really appreciated the real world unprocessed sound : thanks. 👍
sir very useful... more comparisons.... lot of info... thank u so much.... live long...
This is the best review ive ever seen. I wish i had teachers like you
Many thanks!
At the end of this video, you mentioned "acquiring" (stealing? LOL) the 50 version, and that you you might do a review of it. I'm debating between the 40 and 50 and so, looked for your review. Didn't find it. Did it happen? If not, care to make any comments about the differences? Thank you. Len
Len! Yeah, this one was so extensive I didn't have the energy to tackle the 50, especially since they're very very similar. The 50 is bulkier, which makes it slightly more cumbersome; and I'm not sure the autofocus (with an autofocus lens) is as snappy. Those are the negatives. On the positive side, it's also a hair sharper-- though I didn't do the extensive testing required to know which lenses it works best with-- and instead of neon blue flare it has a yellow flare that is equally sharp (and slightly green). It's slightly more "natural" than the blue, but only by a little. The 50 is bigger, but it doesn't work with wider lenses than the 40... they both tap out around 40mm. So in the end I can't recommend one over the other. I prefer the 40 for run and gun work, but might choose the 50 for more "planned" shoots. Hope that helps.
Thanks for your very quick reply. Your reply was the answer I needed. Planned shoot? Rarely works out that way. Extra weight? Already carrying too much. Best wishes.
Bravo! Well done. Thank you. Answered a number of my questions, as I'm contemplating purchase.
Many thanks, this is exactly the solution I was looking for as I don't own a laptop!
Excellent video. Thank you.
You didn't just say that Arri and RED only look better because they have specific LUTS did you? Sorry but you are wrong and colorist in Hollywood will tell you that when they have to match A1 vs Arri vs Komodo footage. Colorist don;t just throw a special LUT on their footage and that's they do. That would also mean that you are saying that only RED and Arri are getting the most out of their cameras because of the special LUT. If that was tru Sony would do the same-thing and Sony A1 would look as good as RED and Arri.
Nope, I didn't. If we're talking about the same section, I'm referring to color science, which is how the cameras interpret color and luminous data from their sensors.
@@hurricaneimagesmedia You said that Arri and Red look better because they have a LUT made to match that sensor. If that was the case then Sony would make a custom LUT that made their image look superior. Arri and RED have deep rich color in the mid tones and shadows. When you grade properly this is what you get. If you don't want that look Red and Arri images can be raised without dark shadows and you still get a rich color full image. You are also wrong because colorist usually don't use RED or Arri LUTS because they open up the footage and use scopes and other tools to get the look they want. Most You Tubers don't know how to color grade and know what a proper image should or could look like.
@@contentm3893 Hi content3893, sorry that wasn't what I was trying to communicate (communication in short form is hard). A LUT applies specific color and luminosity values to captured footage; color science applies specific color and luminosity values to data from the sensor-- a step earlier. But they're essentially the same. Sony does have a custom LUT... as do Arri and Red... we simply call it a "color space transform node" in Davinci Resolve. But it operates exactly the same as what people consider a "LUT." Sony also has S Cinetone and other color profiles... or ways of interpreting the color and luminosity data from the sensor. Every pro colorist I know utilizes the color space transform node (usually with their own tweaks later in the chain, plus actual color grading which is entirely different from color correction), and in doing so they apply a "LUT" to footage; you can achieve the same look manually by adjust the contrast, saturation, and pivot points (more or less). Sony cameras look different than Nikon cameras, even when the Nikon model uses a Sony sensor because Nikon uses its own color science. a LUT is different from color science in that it happens after the footage leaves the camera. Why does Arri and Red footage look better? Well, it's debatable that it does. After all, Hollywood blockbusters are shot on the Sony Venice as well, and the cost of the camera in a Hollywood budget is miniscule.
Man let's grade that footage correctly. Check the pipeline and use the Pro Res RAW in another program. Dynamic range data from each camera doesn't tell the whole story. Compare some grade footage. You can only tell what a cameras dynamic range is doing if you compare side by side footage.
how do you open up my iphone's storage app????? I don't see it.
The original control cable that came from Tilta got a short in it, do you know a cable that would work as a replacement anybody?
18:51 I haven't seen it in any of the documentation from Sony, but I see it again here. Sony A1 in Slog3 has dual native ISO - 800 and 4000. If you use Cinetone on the Sony A1 the dual gain ISOs demand a lot more light as they are 125 and 640.
Great video
This is the best review I've ever seen of any product.
Many thanks!
You’re the best reviewer I’ve come across lately… wow, so much knowledge unpacked with such ease and clarity. You will one day have a million subscribers 🙏🏾💯 and well deserved 👏🏾
I love the A1! I'm still learning things about it. I will probably be using this camera for at least another 5 years.
Loved your video. Take a look at the Artcise Carbon Fiber Bowl Tripod 90C Ultra
What about the se8 vs rode nt5?
Great video! They do have omni capsules available :)
Thank you very much for the detailed and professional review. My respect
Waiting for the reveal at the end where you disclose that you used it through your whole video. I can hear some artifacting... There it is. :-) Still, seems like great tech.
It’s all about image circle. A 645 medium format lens has a larger image circle than dedicated TS lenses which has a bigger image circle than standard 35mm lens. The canon/Nikon TS lens have a 67mm image circle. The Pentax/Mamiya 645 lens has a 80mm image circle. A 6x7 lens even more. There really isnt much point in putting a 35mm lens on a TS adapter unless it has a smaller APS sensor. You can stitch x2 35mm medium format frames together which increases field of view to 17mm and turns a 24mp image to a 50mp image. Winner! If you use a medium format lens the Kipon TS adapter has 15mm shift as 10mm is not taking advantage of the entire lens
Yes. I had a GFX medium format camera (44mm x 33mm sensor) and bought a Samyang 24mm TS (Canon clone), mostly for the tilt with landscapes. (GFX has very thin DOF.). I sold the GFX and now have an X-T5 (crop sensor, 40MP). Kept the Samyang lens and use it very happily on the X-T5, mostly for panoramas. Gives me a field of view of ca. 13mm (= 19 mm full frame equiv), with no pano distortion. Plus I can still use the tilt if needed.
I feel like you made this review for me. I shoot nikon on a sony a7iii 😂. I too have a large collection of vintage lenses. I've recently found myself doing more and more architecture work and found i need a tiltshift lens. The de-click on apature is an absolute game changer. Currently a nice feature on the k&f adapters with canon fd lenses. But to be able to use any of my Nikon lenes as a tilt shift and then a de-click lens for video all for $200 is a steal.
That's been my feeling, too. I will say that the aperture ring is very narrow, and with what would be usually considered a nice amount of friction is difficult to adjust on the fly if you're planning on pulling aperture while filming.
@@hurricaneimagesmedia good to know.
Curious if anyone has this working on an iphone (ios)?
The SLR Magic Cine Rangefinder can work with the 1.33x - 40 Anamorphic Adapter?
Well , and articulately done. I too am a cinematographer. You did this right, thanks!
I think the camera you are talking about is pronounced "Air-EE", short for Arriflex. It's a small point but I thought you might want to know. Great video by the way, thanks.
Actually its correct pronunciation is in german, as "ARRI" is an abbreviation for "Arnold & Richter", the two founders of the company. So from a language perspective would someone from scotland saying ARRI, be the best approximation of the correct pronunciation in english.
Will work with an I phone 13?
Sorry, I don't own an iPhone so I can't say for sure. If it has a UBS C input, I would imagine so.
Really appreciate how in depth you went in on this. Cheers
Fantastic video!! Thank you so much
This lens adapter cannot create halation because halation is a process that occurs inside a film stock (analogous processes exist in digital) and is completely independent of a camera's optics.
@hurricane , Hi ,. Why can't u connect directly from phone to SSD & transfer files ?? Will it work .. pls let us know
Your SSD will need power to function. The hub allows for power to connect to your SSD.
"Noy-mann." :)
Vignetting depends on the lens construction, not on the focal length. Stopping down helps against vignetting, but if your goal is to knock some things firmly out of focus, it is not helping but a trade off. I tried three Nikkor lenses: 50mm f1.4: it vignettes strongly even when it is straight, with 2+ stops darker corners. Tilting brings in the edge of the image circle that the lens projects onto the sensor. 50mm f1.2: it vignettes even when it is straight. Tilting brings this vignetting in some more, and this darkens the corners several stops. 55mm f3.5 micro nikkor. Not much vignetting. Handles being angled both focussed at infinity and close focussed wide open, but this is not so wide. I use a Ukranian Arax tilt adapter. Strongly recommended. At this point in the war, they can still ship. Recommended. 65 euro, and better than other tilt adapters. No shift. The Sovjet Zenitar 50mm f1.7 handles tilt extremely well. No vignetting to speak off in the most extreme settings. The Mamiya 55mm f1.4 lenses handle tilt really well too, but they are very radioactive, the oldest type more than any other lens I know off.
Thanks for your comment-- and pointing out that lens construction is a factor, too. I'm a bit surprised by your results. I own the Nikkor 50mm f/1.2 as well, and I don't get vignetting when straight... only light vignetting tilt and moderate on shift. I can't seem to find my f/1.4 at the moment... but my f/1.8 performs better than the 1.2. I'm using a Sony a1. I'd be curious to know what vignetting your see without the adapter, and if that's playing a role. The f/1.2 are a bit notorious for variability. Since I made this review there have been a lot of inexpensive tilt and tilt/shift adapters introduced.
@@hurricaneimagesmedia I think the point that the tilt pivots around matters too. There are adapters with a ball, like lensbaby, that pivot around a point between the lens and the sensor. The one in your video seems te be constructed so that the pivot point is virtually in the sensor, which is like film back tilt on a large format camera. My adapter is from Arax, and it pivots between lens and sensor as well, essentially this is like tilting and the shifting up. I also saw chinese adapters that were incorrectly derived form fancy adapters that have the virtual pivot point behind the sensor. It all matters a lot for the final image. It is stupid that most tilt shift lenses shift perpendicular to the tilt direction. Such a missed opportunity. Anyways. The construction of the adapter will also matter for which part of the image circle that the lens projects, lands on the sensor, and so also the influence of vignetting will be different. As soon as there will be a m42 to sony tilt+shift adapter that can shift in the same direction as the tilt, for under 200 euro, I'll buy it.
It’s pronounced ‘Revolver’
Thanks a lot for this video. It helps a lot... I'm about to buy a pair of these. I'm just wondering if I'll buy the cardioid or omni ones... It's for recording sound ambiances in the woods, near a lake, country side places..., in the middle of a big city, ... Thanks again!
Great question. Personally, I like having some control over directionality, even with ambient recordings (if, say, I want to capture the stream with less of the woods). But you might ask these guys what they think, since they do this for a living: www.youtube.com/@FreeToUseSounds
Thanks for sharing the link @@hurricaneimagesmedia !
Really good review brother! Excellent delivery and very helpful👏
Thank you. Even CZcamsrs like having millions followers haven’t don’t such job like you ! Gig bless you
I noticed you are transferring jpegs no problem, but when I try to copy raw files from my SD card to portable hard drive the "copy here" button is greyed out. Any ideas how to solve this?
An excellent criticism from all points of view: nuanced, making subtle distinctions, with extremely extremely well weighed arguments, language and vocabulary that show a lot of intelligence, pedagogical clarity, etc. Very stimulating !
Many thanks!