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SLR Magic 2x ANAMORPHIC lens
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  • Shouldn´t be too difficult to have a coated / uncoated option.

    To me, a moderate anamorphic such as this has little use for wild flaring, for others it seems the other way around. As I see it, flares can always be exaggerated in post if that effect is desired - well executed it´s difficult to tell the difference (real / post). The other way around can´t be done.

    The coating, however, can create a very unique character.

  • @robmneilson @RRRR

    It is easy to have all no coating but difficult to have two at the same time. There have been lenses with No coating, Single Coat (SC), and Multi Coat (MC) and there is so much talk which is the better one and which is more superior and at the end people worry too much about which version to get and get nothing at the end.

    One thing I never understand is the No Coating version cost the most. Single Coat becomes limited edition. And Multi Coat that cost the most to manufacture ends up being the DO NOT BUY version. Applies to both prime lenses and Anamorphics.

  • about the coating (and everything else), as Aristotle said: virtue lies in the middle between two vicious extremes.... the multipurpose coating (not too extreme, but not invisible) perhaps is the wisest choice,

    @slrmagic any price expectation yet?

  • @lolo

    Trying to target for a $1.5K budget. $300-500 expectations are quite unrealistic at this point. Many are comparing used anamorphic at $300 but they definitely did not cost $300 when it was brand new. To be fair, our product should be compared with modern anamorphic that are currently in production.

    We need a realistic price expectation for us to bring an idea into production. For example, we have many requests for our 50mm T0.95 lens to be made in EF mount version. However, price expectations for the lens is always sub $1K. When we feel it is not possible, we will never put an idea into production.

  • i am very curious about something even more important: will they have the optical quality level up to par with zeiss lenses, and even more so, zeiss as well as schneider or Rodenstock became also famous because of their beautiful , and not ugly, distortion in wide angel lenses range , something that canon or nikon never were able to do once a lens goes below 30mm, and where Nikon and Canon lenses really look horrible in the way they distort . as a reference : remember those amazing Beatles and Rolling stone Portraits David Bailey shot in the 50's and 60's ? thats what made Hasselblad , although it was the gorgeous wide angel lenses distortion in those often close up portraits that made those rockstars faces nicer looking than even without them. if they can do those 2 things: optical integrity and an similar distortion to what Zeiss does, then they will sell before zeiss sells.

    i hope they are aware of those utterly important details.

  • @lolo : if you want to sell at 1500 US $, you will not sell many.

    unless your lens is minimum as great optically and distortion wise as one that zeiss would throw on the market for 4k and upward.

    if you sell for 500-800$ you will sell 10 times more. remember the canon 5d debacle? they had the 8000$ one out and the 5d was better , and it was only 2200.-$? every single photographer i know sold his 8k canon and bought that 5d. today many of my competitors and friends who used to only shoot with medium format 30'000$ leaf backs are only shooting with the 3000.-$ 5dmark3, ....

    there is this threshold of budget with each individual. And yes a pro DP will buy for 1,5k your lens. but that guy has already a LA-7200.or similar already.

    and how many of those pro filmers do you have there really?

    if you go right below where it starts to hurt, you are talking at this point to all and everyone out there with even just Photo skills. canon made a fortune, look at their stock ! Nikon went almost bankrupt as a consequence of that 5d.

    and remember the 5d actually delivered and still does . so your lens needs to deliver like zeiss lenses do. and if you can manage this to be the same competitive item as a 5d in the camera sector , you will sell thousands of your lenses very very fast. or you will sell a few hundreds and the sales will eventually simply stop.

    i think with all the blogging you then can easily have the lens be tested very well and if it the test will not fail optically and distortion wise , you will not be able to keep up manufacturing those things.

    i am crossing fingers to see one of those very soon and play with it on one of my VOGUE shoots with are turning out to become now video shoots...LOL

  • i am crossing fingers to see one of those very soon and play with it on one of my VOGUE shoots with are turning out to become now video shoots...LOL

    You seems really fast in self advertisment and have big knowledge in lens market. :-)

  • I would pay $1,500 if it works with a variety of taking lenses. First test looks pretty good.

  • @akos

    I don´t know what trends you are sailing or where you are coming from but there seems to be a fair bit of very subjective ideas in there. Also, you can´t really compare medium format lenses to what we are discussing here. You have to be a whole lot more specific if you want to discuss optical qualities of lenses.

    1.5k is a very modest price for a good (emphasis on quality) anamorphic solution for video/film production, compared to any other contemporary offers out there. You might be able to rent a set of hawks (or cooke anamorphics) for 2-3 days for that money. Now those are complete cine lenses so they are something else completely, but if you can get good functionality and a good look with the slr magic anamorphic, there will be many who are willing to spend that money. You certainly can´t compare it to an la-7200 adapter.


    Re: the anamorphic, will it fit s35? or m43 sized sensors only? Re: coating - one coating is fine for me; however if you want to target a wider audience it might be an idea to release it in two versions, that is all I´m saying (evidently some like extreme flares, some like modest ones). There are no coating options when it comes to contax zeiss which I use a lot these days - they look good, the optics are great, it´s as simple as that.

  • @RRRR Sometimes two options is harder than it sounds.

    Example 1)

    We offer our 12mm T1.6 in two versions. One with lens gear and the other without lens gear. The end result is the majority decide to buy from nearby or local resellers (makes sense) then try to buy the lens gear from us separately with expensive international shipping (does not make sense).

    The version with gear installed is guaranteed to work and is cheaper as a consequence since the shipping is already combined with the lens. However, many of our resellers choose not to stock the geared version. We tell them our customers stated they bought the lens from them to later find out they do not sell the lens gear.

    Example 2)

    Our 50mm T0.95 is hard to buy. Many of our resellers think it is the same as our 50mm F0.95 lens so they decide to sell the 50mm F0.95 only.

    Example 3)

    We have a 35mm T0.95 CINE lens, a 35mm T1.4 CINE II lens, and a 35mm f/1.7 lens. Some resellers only want to stock one 35mm lens so our 35mm T0.95 CINE lens and 35mm T1.4 CINE II lens is so hard to find.

    Not the perfect examples but I know you get what I mean. If we have a coated and non-coated version it is most likely resellers will only stock on one type only and the purpose is defeated already. If we only have one version, most likely you will find that in stock.

  • @akos Wow, you joined yesterday and already throwing your business in our face, nice! :)

  • Hi Vitaliy_Kiselev,... nice to meet you ;).. i am no one important really .... but i have been shooting for 25 years now between Europe, USA and Asia in the luxury Section of Magazin Editorials and advertising. so with that comes along a lot of play with gear. i was at the beginning sponsored by many companies, like Kodak, Nikon, Sinar , Elinchrom, etc etc... which helped me in a great way with equipment. i was invited to sit often with the head of those companies and discuss my passion and my equipment needs and experiences. i just talked to DR.Schaerle , who is the head of the R&D department at Zeiss in Germany, and who was very interested in meeting with me , which came as a surprise to me. turns out he is also the CEO of Zeiss. so i do not advertise here anything but the fact that i am ultra passionate about the topic Anamorphic. and i hope this lens will turn out to be an adapter lens like the LA-7200, but just more modern.

    Hi RRRR, nice to meet you as well. i am very familiar with cook lenses etc. but this market is so small that there is hardly any profit for the lens manufacturers, since only very few people would pay 20'000 dollars for a single lens.

    i think slr magic is talking to normal prosumers, and there is a threshold for lenses budgets. i rather buy myself a 1500 $ wide angel lens from canon before i buy any anamorphic fix focal lens . the only item i would spend on is an adapter that turns all my lenses into anamorphic, like the LA-7200 or century one (yes i know its a bad one)

  • @akos what? i´m not selling anything, you on the other hand.... your reading comprehension is poor, try to read more books...

  • Hi vicharris.... not sure why you are in attack mode here... thats really not cool at all ! these are my main clients, i worked very hard to get them.

    why in the world should i not mention my eagerness to use this lens on my most important shoots ?... doesnt this show i trust this company to manufacture a great lens which i would play with on an important situation rather than shoot flowers in the garden ?

    really not cool of you !

  • @slrmagic about the price target, just a modest comment from an unemplyed dude here: usd1500 is far away from my pocket, so your item at that price range would be something i want, but not something i can afford or would afford if i had the money (there are other priorities in life), meaning for you that you are going even further on the niche market, photo/video>anamorphic style>pricy gear , so perhaps you should think in a design that can exploit that exclusiveness, or something that tells the buyer that for buying this gear he/she is entering in an exclusive club, that only the people that buy this thing can enter

  • @slrmagic : am i understanding this correctly you will have a fix focus anamorphic lens 12mm T1.6 ? that would be amazing on the canon 5dmark3 with Magic lantern raw in crop mode... very nice... small market though.. but that one i would consider

  • @akos No you're not understanding it correctly. SLR 12mm lens is m43 mount, it doesn't work with Canon cameras and has nothing to do with this anamorphic. And as Andrew stated a couple of times, their anamorphic adapter will be precisely an adapter, not a single lens, designed to perform better with their 35mm 1.4 lens (dual focus system, I think).

  • Hi Flaaandeeers ;) thanks for helping with an answer;) in crop mode on a 5d you have an area of a typical 43 chip, why would you say this doesnt work on a canon? ..just curious..;)

  • @akos Because of the mount, flange distance, etc. Although the adapter might work with much longer EF (or compatible) lenses, but of course we don't know that yet.

  • @akos I´m sorry but - your story seems a bit implausible. If you´ve been shooting for 25 years (although stills), it really is strange that you don´t seem to know a thing about flange focal distances.. Didn´t you ever think about why you couldn´t use a nikon lens on a canon? Why m39 lenses would not work for most other systems? Or why you could use a pentax (m42) mount lens on several other systems?

    There are productions in all cathegories using 30-500k worth sets of cine lenses every day. Rented or privately owned. And these days there are countless "indie shooters" doing everything from no-budget to 50k (or more) productions, all over the world. All of these (which include a fair number of prosumers with ambition for cinematic narration, music video production e.t.c) are potential customers for an anamorphic system which is easier to use and come by in a production than second hand / vintage anamorphic adapters / lenses and infinitely less expensive than high end cine anamorphics.

    We are talking moving images, not stills photography. If wide is what you want, you are better off with a wide angle lens than an anamorphic. Optically, an anamorphic cannot match a spherical lens in terms of resolution a.s.o. especially not price vs. quality. Yes the anamorphic lens was first conceived as a way to compress a wider image into a narrower frame (which could then be re-stretched). There are plenty of resources into the history of anamorphic and other wide-screen cinematic ventures if you want to search for them.

    However, the anamorphic stretch comes with all sorts of artifacts, out of which quite a few are desireable because they produce an anamorphic look. The distortion produced (and the spatial sensation) is quite different to spherical lenses.

  • Hi RRRR ;) i do shoot with nikon lenses on my canon and can do the opposite easily as well. not sure why you are on a confrontational trip here as well. if you look my site up and if you understand the market , you will see i served my time. so your doubt and discredit is badly placed here. i wonder why you are not simply "asking" instead of accusing? i own myself gear starting from pocket up to 8x10 Sinar plate cameras, i shoot digital in 1983 where people still were using landline phones. so yes i am very at home with equipment. you are mentioning sets for Tv Commercials? i am very at home with those budgets and those gears used there as well. i just did a Big Budget Tv Commercial for a leading wine company actually 2 weeks ago , we rented an Alexa and a Phantom miro. i handled the cameras. so yes i am at home with some of these gears. so what was your question exactly again?

    anyway, i am leaving this blog here, too many aggressiveness here. really not very productive for anyone ..

  • Oh please.. Nothing I wrote above was agressive. But if you can´t take it, fine by me.

  • wow, spamming this thread...hope he's really gone now.

  • Umm, what's going on here?

  • @akos just for the record you can't use a canon lens on nikon body due to the shorter focal distance (only macro). You can't also mount a mFT lens on canon for the same reason (not to mention coverage).

    The slightly aggressive tone of the others is maybe because you're riding in on a high horse here with some big talk about hassleblads, sinars, alexas, big productions and so on. What's the big deal?! These are just some tools, some jobs... It's not like shooting a Tarkovsky film.

    If you want to show off, make it with your work, not with a handful of brands and fancy magazines. If you truly were what you claim I don't see you talking such contradictory stuff really. Probably you were someone's assistant at best.

    And just out of curiosity - if you shoot for 25 years, how comes you used to shoot with this digital camera back in '83? You were like 4 years old? Maybe you've got access to some state of science secret rejuvenation potion?

    I may be wrong of course, so you can convince us with any of the top-big-budget-project of yours or just some of the 8x10" plates...

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