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.