Channel: Brandon Li

Category: Film & Animation

Tags: sigmameikehawk anamorphicatlasfilmmakingfull frametamroncinematographycanonleicanikonaps-csonyvazenblackmagicrungunshootunscripted studioanamorphicttartisanlaowabrandon limirrorless

Description: I've always dreamed of being able to shoot run-and-gun anamorphic, so I wanted to try this new full-frame lens on my Sony A7siii. Read my full thoughts in description below. Learn filmmaking: myfilm.school/sirui-FF50mm Get the lens: indiegogo.com/projects/sirui-50mm-t2-9-1-6x-full-frame-anamorphic-lens--2 Shout out to my friends at 8055 bar (IG @8.0.5.5) and 9Cut Barbershop (IG @9cutbarbershop). Thanks guys! Sunset location: Central-Wanchai Bypass East Vent Shaft, Hong Kong Filmmaking for Photographers: filmmakingforphotographers.com My Gimbal Masterclass: gimbalmasterclass.com/brandon GOT A QUESTION FOR ME? CHECK MY HUGE LIST OF FILMMAKING Q&A learn.unscripted.com/faq My thoughts on this lens: The Sirui 50mm Full Frame Anamorphic is the first Sirui lens that looks noticeably anamorphic to me. The lens is sharp and has great contrast and color. The bokeh is noticeably oval, though of course it's not the full 2x stretch. The focus ring is smooth in operation and not too tight for small follow focus gears to operate. So let's go ahead and talk about that crazy flare. Yeah there's way too much of it. It looks ok to me when there's just one strong light source light like the sun, but it looks awful when there's many light sources. Sirui told me the production version of this lens will have different coatings for reduced flare, so we'll see. I do wish they could also give the flare a more neutral color. I prefer the flare to be more subtle and natural overall because I'm not shooting sci-fi. The lens is big and heavy, but that's to be expected from most anamorphic primes. I was able to balance it on my DJI RS 2 and RSC 2 gimbals (with follow focus and lens support), but the gimbals couldn't stabilize it nearly as well as my smaller primes. I still got lots of jitters, even with easy slow movements. Also, it was difficult to keep the follow focus gear from disconnecting. Generally it just didn't work too well with my gimbals, so be warned. The T2.9 aperture is about the same as F2.8. It's not super bright for a prime. But if it were T2, the lens would be gigantic and more expensive. So that's the tradeoff. The 50mm focal length is actually wider, because of anamorphic's increased field of view. It feels more like a 35mm or 40mm in spherical lens terms. A very useful focal length for filming people in medium and close-up shots. If you use a 4x3 sensor camera, I think you'll get a wider FOV. I don't know if it's weatherproof, so I can't comment on that. Final thoughts: this lens is totally usable and gives you enough anamorphic look to justify the extra hassle. Personally, I would wait to purchase until I could get a whole set of FF 1.6x lenses. Otherwise the image won't match the rest of my kit. But this 50mm is a great start, once they fix that flare. Technical notes: Filmed on Sony A7siii in slog3sgamut3cine @ 4k60p, 4k24p. No ND filters. Handheld + DJI RSC 2 gimbal. Edited in DaVinci Resolve. 5184 x 2160 timeline. Input LUT and basic cc only. No creative LUT or film emulation used. Music by Uppbeat! Join for free today: uppbeat.io/?ps=brandonli #filmmaking #lenses #anamorphic #fullframe #unscriptedstudio * * * * * * I am a participant in the Amazon Services LLC Associates Program and B&H Photo Video Affiliate program, affiliate advertising programs designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com and bhphotovideo.com. Additionally, I participate in other affiliate programs, and sometimes get a commission through purchases made through my links.