We’re gonna take advantage of its supersaturation in post as a way to make a specific selection and dial it down. In After Effects I tweaked this Hue/Saturation effect to affect just the blue hue. Now I can adjust the flare almost independently from the rest of the shot. If I wanna make it less saturated, I’ll play with Saturation, Hue will make it more cyan or magenta and lightness will darken/brighten it.
The sliders on the hue bar up here determine the colors being affected, so if your flares are more towards magenta than blue, you can fine tune it up here. The vertical bars are hard stops and the tiny triangles are a smooth gradient, so it blends nicely around similar colors.
For Premiere, I made a preset based on the Lumetri Color effect and you can download it from the video description. It’s not as precise as the After Effects version, but it works if you’re too lazy to go into AE. The H, S and L sliders control the selection of the flare. As you adjust them, the video will turn into a matte image and the white areas are the ones being affected. Your goal is to restrict the white to the flares as much as you can. Down here you can use the Temperature, Tint and Saturation values to control the flare’s look. You can also use the color wheel to control its lightness and color, but that can go bad quite quickly.
Now the caveat: if your footage is blueish, this trick won’t work as the effects will pick up on that color and desaturate the whole thing. The hue adjustment requires precise white balance so it doesn’t affect anything else but the flare. This can happen quite frequently, so watch out for it. The other thing is blue elements in your shots can be affected too. Fixing these can be tricky and time consuming. Plain and simple, I wouldn’t recommend playing with the flares if you have strong blue lighting or important blue elements within the shot.
I hope this helps people out there who are unhappy about their flare situation and just want to nudge it towards a more specific tone. SLR Magic, you’re welcome. Hahahah. Just kidding. Don’t forget to download the presets from the video description and let me know how they work for you! If you want more unique tools for your anamorphic troubles, make a pledge on Patreon and you’ll have earlier access to things like this, besides other bonuses. Now don’t forget to subscribe and like this video! I’m Tito Ferradans and I’ll see you next week.
The SLR Magic Anamorphot 1.33x-40 has been around for a while, but with no detailed reviews yet. It’s time to solve this problem! This adapter is even better than its older, bigger brother, the Anamorphot 1.33x-50.
Hey everyone, I’m Tito Ferradans and today we’ll be talking about one of those lenses that spark curiosity but have very little information online. The SLR Magic Anamorphot 1.33x-40. Much like it’s bigger brother, the 1.33x-50, this Anamorphot is fun and easy to use. It is a single focus setup, as it comes attached to a budget Rangefinder, with no focus markings except “Near” and “Normal”. The distortion is quite pleasing and it stretches out to Cinemascope aspect ratio right out of the camera when shooting 16:9, due to its 1.33x aspect ratio. Flares are still super saturated, and there are lots of chromatic aberration when shooting around f/2.8 or faster. It doesn’t play super nice with longer lenses (85mm and up), especially in low light. Corners are messy all throughout, but you should’ve learned to not expect much from a 1.33x adapter anyway. My best pairing is by far the Canon EF 40mm pancake.
This Anamorphot feels like a shrunk version of the 1.33x-50. It has 52mm rear threads and a built-in locking mechanism that frees you from clamps. The front thread is 82mm, allowing for NDs, diopters and whatnot. It’s been out for quite a while but still there’s not one review online. Weird. SLR Magic discourages using taking lenses with front elements bigger than 40mm (hence the name!), as that will introduce vignetting and light loss.
One big advantage of this 1.33x adapter is the fact that it is single focus. Focus ranges from 1.2m (or 4ft) to infinity. All you have to do is focus your taking lens to infinity and attach the anamorphic to the front. The adapter weights 535g, has a solid metal build and it’s not too taxing on the taking lens to require additional support – as you don’t need clamps and diopters.
PRICE and AVAILABILITY
Price is standard on eBay, Adorama and B&H at $799 and I haven’t seen any of these being sold as used yet. I might be the first! There was a huge discount thing going on a few weeks back and it sold for $699 bundled with SLR Magic’s 50mm f/1.1, so you could’ve grabbed it for super cheap.
The previous Anamorphots were “double focus but not quite”, through the Near Normal dial, which required some tweaking with the taking lens. This is not the case here, with full single focus operation. They recommend shooting from f/2.8 and above, and it’s easy to see the difference when you go below that. I would say the sweet spot for this adapter is f/4.
Blue radioactive flares, no surprises here. Plus the added elements because of the Rangefinder. Not the finest performance for me, but if you really dig flares, this one is the way to go! Some taking lenses will make a vertical flare. It doesn’t show on the 40mm, but shows on other lenses I tried.
When it comes to sensor coverage, SLR Magic recommends using this lens with APS-C sized sensors, and says it will pair nicely with their CINE Series, both the 35mm f/1.4 and 50mm f/1.1. For MFT, they say 25mm works. For Full Frame, I was still able to get a clear shot at 40mm, using Canon’s pancake.
I don’t see this as a step back from the Anamorphot 1.33x-50, but a step up! I was able to go much wider with built-in single focus. Full frame performance is not top notch, but many of SLR Magic’s lens choices are geared towards smaller sensors and with the GH family around, I understand and respect that. I think this is an attempt to reel in more serious shooters because of single focus and all of the anamorphic character. I think it’s strange that this thing has no reviews out yet, since it’s actually better than the Anamorphot 1.33x-50. Are you getting one? What did you think of it?
If you’re still around, I would recommend subscribing as anamorphic is what I’m all about. On top of that, like this video and help out by sharing it with your peers! If you want to further support this research and experiments, join us on Patreon to chat with me and a few others, get anamorphic rewards and decide the fate of this channel! Ferradans, out.
I’m Tito Ferradans and today I’m talking about an anamorfake solution that has been around for ages. The CineMorph filters are super simple to use, quite cheap when compared to real anamorphics, and deliver results that can fool most of the audience. “Using a plugin called the VashiMorphic along with the CineMorph filter (…) was pretty convincing and fun, although we’ll be the 1st to acknowledge that there’s nothing like real bent glass!”, says Eddie at Vid-Atlantic. I don’t think the goal is to actually replace anamorphic glass, but to have a quick fix when you’re in a rush or a tight budget – or doing pickups without the original glass used on the shoot.
The CineMorph filters, made by Vid-Atlantic, are… filters… that you screw to the front of your lens. They have an oval cutout and that shapes your out of focus highlights as the classic anamorphic bokeh. As of 2017, they revamped the CineMorph, delivering versions without glass to remove unwanted ghosting and reflections. You can also remove the glass afterwards, if you want. The filter comes in a rotating frame, which allows you to quickly re-align and adjust directions. The downside is if you’re not careful, you’ll knock it out of alignment by accident.
Like many others in the anamorphic business, the team at Vid-Atlantic is composed of a dedicated small group of people. They’re constantly out in the world making content and believe that this is the best way to come up with ideas and learn new tricks. I’ve chatted with Eddie on a couple occasions and always had a positive outcome. If you have questions about the filters don’t hesitate in contacting them. Their goal is to achieve the most versatile products, and customer feedback is key for that.
They started making the filters because back in the day (aka 2009-10), double focus was a big thing and Iscoramas were already expensive. In order to achieve most anamorphic artifacts, keep costs low and still have rack-focusing capabilities they came up with the filter to intercut with real anamorphic wide shots.
PRICE and AVAILABILITY
Pricing varies a lot due to the huge customization range. Eddie already told me the prices are dropping $5 to $10 thanks to more reliable manufacturers and lower cost materials. Before these changes the Streak filter goes from $64 to $74. The CineMorph ranges from $74 to $84 and you have a wide variety of combinations, so I recommend you check its product page to build your own. They also offer mattebox versions for bigger setups, and you can get one for $20 or a full set of four for $90. Lastly customers that purchased their filters prior to December 2016 can upgrade their gear with the newest builds for a low fee. You can also find them on eBay. AAAND! If you happen to be watching this, you can use my code at checkout for 10% off on their website. The code is TITO10.
The streak filament used in their filters is the secret ingredient of the formula. All I could learn about it is that it comes from Japan, and it flares like nothing else. According to the tests, this is very much true. Flare filters result in a line across bokeh, so keep that in mind when using one. I liked a lot the fact that the glass-less and mattebox CineMorphs have a groove on the top and bottom of the filter that you can use to align your own filament.
I started to get dark edges and intense vignetting around 35mm, so stay above that. I would actually say to stay above 50mm for full frame. The rule of thumb is to get a filter that is about the same size as your lens’ front element. If needed, try using a single step ring. This way, the oval cutout shapes the bokeh. If your front glass is too small, bokeh won’t be affected or the oval will be cut off. If your front glass is too big, you’ll be loosing too much light. You lose around two stops just by using the right CineMorph, so don’t choose the wrong one!
Quoting Eddie, “These aren’t products (…) for everyone, but the anamorphic look is super addicting and never gets tired”. The CineMorph filters are a super easy way to anamorfake, and I would recommend that for people that are considering the anamorphic look, but don’t wanna pull the trigger in a crazy amount of money for cylindrical glass. These filters will help you fool the majority of your audience and, let’s agree, you don’t wanna try to fool those who actually know what anamorphic is. As for performance, I got my best results from using longer lenses, 85mm and above, which goes hand in hand with what Vid-Atlantic has in their website.
As I explore more and more budget options for achieving the anamorphic look, it becomes clear that the real lenses aren’t always the best solution. Anamorfaking is a thing and you should honestly give it a try if you stress out about shooting with your current setup. These solutions take off a lot of the pressure and weight of a complex optical system and make shooting more entertaining and spontaneous. It doesn’t fit every project, but many of them can benefit from faking it. Now if you liked this video, please hit the like button and subscribe for more content about anamorphic! You can also support me on Patreon and make a huge difference for these videos! I’m Tito Ferradans, and I’ll see you next week.
I was chatting with the guys at Vid-Atlantic and we decided to do a gear giveaway. Actually, TWO gear giveaways of CineMorph filters to fake the anamorphic look. Each of these filters costs around $80, and you won’t have to pay a dime for it. One of the giveaways is good for anyone and the second one is just for those that have joined my Patreon page. The public one is for a 77mm CineMorph with no flares and no glass. The Patreon contest is for a 58mm version with neutral flares. To join the public contest all you have to do is head to the blog – link in the description – and follow the instructions there. You can have multiple entries if you fulfill more than one requirement!
For Patreon, much easier, just sign up as a patron before the end of this month! That also gives you entries in the public contest.
I’ll pick the winners at random among the pool of contestants and announce the results here, on March 12th! You can take part in both, of course, but whoever is on Patreon has a much higher chance of winning since the pool to pick from is much smaller. You can also get an entry by responding to the poll in this video and leaving a comment below! All I wanna know is what type of video interests you the most: more reviews? more hacks and DIY? more anamorfaking? other? Before you go, grant yourself some entries by subscribing to the channel and liking this video! Good luck, everyone – and don’t forget to use the 10% off coupon for Vid-Atlantic! TITO10, it’s in the description of this video! I’m Tito Ferradans and I’ll see you next week.
Thanks to Eddie at Vid-Atlantic, I got to try the CineMorph mod filter that fits the Sigma 18-35mm f/1.8 ART. The results are addictive, with wide angle, extreme close up anamorphic character. I love it!
Tito Ferradans here for a two-part episode about the CineMorph filters. This one is about the Sigma 18-35mm version. I’ve been dying to test it since it first came out, but I wasn’t willing to buy a Sigma just for that. Eddie at Vid-Atlantic kindly sent me their Sigma and I’m having a blast with it. This thing is razor sharp at f/1.8 and I really like the feel of the footage – and now I want one of these damned Sigmas…
This CineMorph takes anamorfaking to the next level by quickly taking over a superb, fast, constant aperture, zoom lens: the Sigma 18-35mm f/1.8 ART. No crazy steps and taking stuff apart, installation is pretty simple, the price is cheap, and the results are outstanding.
The insert is a thin 3d-print in black plastic. It slots neatly into place and I didn’t even know you could reliably 3d-print something so thin! Be aware that if you pick a version with flares, you’ll have a line going across bokeh. Most people won’t notice it, but you’ll know it’s there.
It’s good to remember this thing is also compatible with other Sigma and Zeiss Distagon lenses in Canon EF mount and not other lenses because of the three screws at the back. I’ll get to that in a second.
PRICE and AVAILABILITY
CineMorph filters are always available! You can grab yours at Vid-Atlantic’s website. The basic option – just the oval – is $35, then $45 for neutral flares and $50 for tinted flares. The one I’m using here has neutral flares.
The rear CineMorph is very easy to install. You can find the steps at Vid-Atlantic’s website AND on a small leaflet that comes with the filter.
First, loosen these three screws on the back of the lens. Do not take them out!
Slide over the filter and rotate it to align.
Last, tighten the screws back into place. Do not overtighten.
As a safety warning, the folks at Vid-Atlantic inform that this rear filter might not be compatible with every single Speedbooster, adapter and attachment out there. For more detailed disclaimers, check their product page.
I was able to use it with the Metabones Smart Adapter from EF to E-mount without a hitch until the very last test, when it got caught up on the mount and tiny corner broke off. Make your own tests to certify if you’re clear or not! Eddie also said that if you experience problems, they’ll send you a replacement, and the filters are fragile so if something breaks, it’s the filter and not the expensive adapter or lens!
I should begin by saying that this is an APS-C lens, which doesn’t cover full frame. Other than that, there are no issues with vignetting, at any focal length. As you’re placing an obstruction in the light path, some of it is lost. Around one stop, to be accurate. The lens will now behave as f/2.8, even though the aperture is at f/1.8.
You also will want to rely on NDs rather than stopping the lens down, as you’ll start to get heavy vignetting on the corners past f/3.5 at 18mm.
It was so easy and straightforward to use this mod that now I regret I have to ship this Sigma back… If you have this lens, I highly recommend this attachment. It’s a great way to fake anamorphic bokeh and flares for wide shots with shallow depth of field – the hardest type to achieve when using adapters!
Stay tuned for the next episode which will cover all other versions of the CineMorph; these are the ones that go in front of your lens – or your mattebox! If I wasn’t clear enough I meant: SUBSCRIBE. NOW. I have a few other videos on anamorfaking and you can find them in this playlist. Lastly, this project needs support. Join me on Patreon for exclusive rewards, inside information and the power to vote on what comes next! Ferradans, out!
All the RED links on this post are part of eBay’s Partner Network, so if you purchase anything through them, you’re helping me to keep this project going.
Heya, Tito Ferradans here for a lighter video this week. Doing this holiday season push was intense and I needed a little break to organize what’s coming this year. Then I thought of sharing my plans with you, and here we are. First of all, I’d like to thank my buddies on Patreon that are giving me a great help. Our discussions already shaped many of the things here, so, if you wanna be a part, join us!
Ok, so here’s the round-up: in the early months of this year I’ll have reviews up for the Sankor 16D, Kowa 8Z, Vistascope 8mm, and the AnamorphX GP. I’ll squeeze the Isco Ultra Star here too. I’ve been chatting with Eddie at Vid-Atlantic and I’ll try all flavors of Cinemorph filters – which are another alternative for anamorfaking, easier than lens modding. I’m still pending the shortfilm part of the Single Focus Shootout, so we’ll have that coming up too. It’ll be a thrilling ride, more elaborate than the previous shootout.
Then, since I got a Kowa 8Z, I can compare it to the 16H and B&H to try to clarify what are the differences between these models that are always switching places at the top of the rankings. On the collaboration side, I’m chatting with Mikalai Verbel, who’s working on the Verbascope and that leads to an episode of intense modifications to adapt the massive LOMO NAP – a number one hit when it comes to low-budget anamorphic. I’m also collaborating with the endless pool of information that is James Price and working out an episode about mounting rails on scopes; enough with the train of lenses (as coined by Alan at Vintage Lenses For Video).
As long-term goals, I have my sights on the Rectilux CoreDNA that everyone keeps talking about. I’m also trying to get my hands on SLR Magic’s Anamorphic Primes. And, of course, a proper video to talk about the recently announced Panasonic GH5.
Besides the videos, this is a great year to update the blog, to make the Anamorphic on a Budget page cleaner and more organized overall. I’m also revising the original guide for better English and updating some concepts. It’s my way to get a grasp of what needs to be covered in the upcoming Cookbook. The calculator still has updates I want to implement – mainly to help you see changes in setup through the lens – and there’s the magical dream of being able to recreate very specific lens distortions in post through a (dream with me) custom built After Effects plugin.
If you try to count everything I named, you’ll notice that’s a ton of episodes. I wanna clear enough technical ground and start going for the philosophical stuff after the first half of the year, like “Why shooting anamorphic?” and “Why does bokeh become oval?”, “How do diopters work?”, “Cinemascope storytelling” and so forth. What do you think? Am I missing something very important? Leave a comment below, let’s chat! If you like these plans, be sure to subscribe here and support on Patreon. I’m Tito Ferradans, and I’m exhausted even before we begin. See you next week!