Arri Alexa

SLR Magic 2x Anamorphot-CINE Video Review

By Stefan Haselgruber

I took SLR Magic’s 2x Anamophit-CINE lenses set for a spin with the GH5. Here are my personal impressions of working with them.

The cinematic look has personally always fascinated me.

For that reason, I often try to create this look (as many others out there) with modest means, even though I might not be able to afford a high-end cinema camera, like the Arri Alexa or beautiful cinema primes.

However, the SLR Magic 2x Anamorphot-CINE Lens Set are the first anamorphic lenses that I have ever used, I can tell you my experience, what I learned and discovered.

Anamorphic Test Footage Video

The video above is shot on the GH5 in the 4:3 Anamorphic Mode and the SLR Magic 2x Anamorphot-CINE Lens Set, in 6K/25p. We uploaded it in 4K on YouTube for practical reasons.

35mm T2.4 (MFT Mount)
50mm T2.8 (MFT Mount)
70mm T4 (MFT Mount)

(Links to B&H and CVP below this post for pricing and availability!)

These lenses were specifically made with an MFT mount for GH5 users to utilize the camera’s unique anamorphic 4:3 shooting mode that can use its full 6K resolution.

Getting used to shooting anamorphic

Hopefully after watching this video you get an impression of how the lens set performs. Filling the frame and creating a beautiful composition in the anamorphic wide screen format is for sure something new and took me a bit of time of getting used to.

The GH5 has an in-camera anamorphic de-squeeze mode that enables you to see the actual 2.66:1 aspect ratio picture on set. This function is a major help in judging and feeling the created frame – enabling me as a cameraman to react → continue…

From:: Cinema 5d

Behind the scenes of ‘PARALLAX’ – shot with the Sony Cyber-shot RX0

PARALLAX was directed by Philip Edsel. Director of Photography: Peter Longno. Producer & BTS: Moyo Oyelola. Choreography: Jacob Jonas. Dancers: Nick Walton & Joy Isabella Brown of Jacob Jonas The Company. Music: “Into” by Aten Rays.

Sony’s new Cyber-shot RX0 is a tiny, rugged action camera capable of full HD slow-motion capture and external 4K recording. Unlike most cameras in its class, the RX0 offers a large 1 inch sensor and an option to record video in the S-Log profile, making it more versatile when imported into professional editing suites, and more easily compatible with professional video workflows.

Filmmaker Philip Edsel has been working with the RX0 (or rather, with a lot of RX0s…) for a while. His new piece, PARALLAX, was shot entirely using RX0 cameras alongside a variety of different peripherals, including a ‘bullet time’ rig. We spoke to him recently about the challenges – and unique opportunities – he encountered when shooting with the RX0.

What kind of challenges do you face when filming athletes?

When working with athletes for a film like this, our number one concern is safety. Having athletes perform crazy flips and jumps repetitively can most certainly be dangerous if you’re not taking the proper precautions. Thankfully our athletes were super talented and always landed their movements with ease. After that, the challenge was just capturing those movements in a way that did them justice.

What kind of gear would normally be considered appropriate or industry standard for a piece like PARALLAX?

This type of film would normally be shot on a cinema camera – something like an Arri Alexa or RED. If it was a personal project of mine, I would shoot it on my Sony A7S II or A7R III. Cine cameras come with a lot of baggage though – cages, rigging, → continue…

From:: DPreview