SLR Magic have developed the Anamorphot 1.33x -65 to include focusing gears, further expanding the follow focus functionality for anamorphic filming. For a few years now, SLR Magic has been a great choice for filmmakers aiming to achieve the look and feel of anamorphic, without spending lots and lots of money on high end lenses. However, due to the design of the adapter, it wasn’t possible to focus simultaneously with the lens itself or use follow focus units with it. (In his Anamorphot 1.33x -65 review, Johnnie explains the issue in details). Understanding the needs of the camera operator and focus puller, SLR Magic have updated the adapter with focusing gears, which has also lead to the possibility of using synchronized follow focus systems for both the taking lens and the anamorphot adapter. Mind you that this solution is not absolute in terms of focusing accuracy but as Andrew from SLR Magic explains in the above video, it is good enough especially considering the price of Synchronized Follow Focus Control unit and the lens being a T2.9 one. Synchronize Follow Focus Control With PDMovie A popular setup combination has been the FUJINON MK lenses and SLR Magic Anamorphot 1.33x 65, in which both the lens and adapter now have geared focus rings, but at different diameters. This poses difficulties when trying to achieve synchronous focusing of both units, this is where PDMovie comes in. The PDMovie Live 3 is a wireless follow focus system, that can synchronize both the Anamorphot adapter and FUJINON MK lens focus barrel rotation, even though both units have different angle of rotation and barrel size. It is possible to map the end points with the PDMovie Live 3 device, so both the lens and adapter stay synchronized when focusing remotely. Although there are quite a few synchronized follow focus systems available out there (from Chrosziel and Teradek for example), these are rather expensive. The PDMovie system is considerably lower cost. It would be great to see SLR Magic integrating the focusing gears into all of their Anamorphot adapters, which would take away the complications of attachable focus gear rings or manual focusing, especially as the lenses are being used on a range of productions up to high end. Would the updated SLR Magic Anamorphot 1.33x 65 adapter with lens gears solve your follow focusing problems? Does the PDMovie remote follow focus solution appeal to your needs? Let us know in the comments.

Last month we reported about the new Anamorphot 65, an anamorphic lens adapter by SLR Magic that can mount to lenses with 82mm front thread like SLR Magic’s own micro cinema primes and FUJINON’s MK family of lenses. There is also a chance that by the time you read this review, this promising adapter will be available for preorder.  SLR Magic Anamorphot 65 anamorphic adapter on a Sony a7 III camera Nino, my colleague, caught up with Andrew from SLR Magic during this year’s CineGear to discuss the new product, yet it was time to actually test it and put it through its paces. The Anamorphic Lens Routine First thing first: Why should one actually consider “shooting anamorphic”?, well, the answer is clear. If you are looking to mimic the true aesthetic of cinematic looks, then shooting with an anamorphic lens is the way to go. As this is a product review I will not go deep into the subject anamorphic filming, but please consider heading to our cinema5D essentials episode where Li-Lian and I were aiming to explain what anamorphic filming is all about…. Ok, so if shooting with anamorphic lenses has the benefit of producing a unique look, why is it not too widely spread? In short: budget and training. TRUE high quality anamorphic lenses simply coast A LOT, far beyond the budget of most independent filmmakers. There are, of course, ways to track and purchase vintage anamorphic lenses, but this is not too easy. Speaking of anamorphic – I urge you to visit our friend and content contributor, Tito Fernandez’ YouTube channel, where he demonstrates a great deal of knowledge and shares valuable tips for anamorphic lens and adapter lovers. The question remains: If true anamorphic lenses are expensive, what is the next best option? The answer is, “adapters”. The idea of putting an anamorphic lens adapter in front of spherical lenses is nothing new and can actually make a lot of sense, as most of us already own many of those wide spread zooms or primes, so why not make use of those and attach an adapter to them? (I’ll leave this question open, hoping to hear answers from you guys in the comment section below). In the past, I’ve already tested SLR Magic’s entry level anamorphic adapter, the Anamorphot 40 compact adapter, but besides the fun I had exploring shooting in anamorphic, this specific adapter left me feeling that probably, there are no shortcuts when attempting to create a high quality device. SLR Magic Anamorphot 65  The SLR magic Anamorphot 65 The new Anamorphot 65 is a completely different story. First the specs: 1.33x adapter to be used with modern cameras having a 16×9 sensor image size Rear Mounting Thread 82mm, perfect to be attached to SLR Magic Micro Primes, some SIGMA lenses, and the FUJINON MK 18-55mm and 50-135mm Outer 112mm diameter thread for optional filters Outer 114mm diameter barrel for attaching a matte-box Weight: 1.7 lb / 0.78 kg SLR Magic Anamorphot 65 112mm filter thread The FUJINON MK 18-55mm and MK 50-135mm  The above two FUJINON MK lenses were introduced about 2 years ago and since then, managed to capture the heart of many filmmakers. The quality for their price is great and their size and weight is perfect for many shooting occasions. I’ve tested the adapter on the E-mount version of the lenses, but this is the place to remind everyone that FUJINON will soon start shipping their own X-mount version of the lenses, bearing some extra benefits for users, as the lens will be able to communicate with most FUJIFILM camera bodies. Speaking of which, there are modified FUJINON MK lenses to M4/3 mount, so practically speaking, those lenses will fit on Olympus or Panasonic cameras too. The SLR magic Anamorphot 65 was built with both mentioned lenses in mind and I have to admit that mechanically speaking, the fit is perfect. Set your full frame camera to APS-C/Super 35mm option Attaching the Anamorphic Adapter to the FUJINON MK Lens For best optical performance, please perform a lens back focus check prior to attaching the lens adapter to the FUJINON lens itself. Right after, the  procedure of putting the adapter on the lens is fairly easy, although, for whatever reason, it was a bit easier for me to attach the adapter to the FUJINON MK 50-135 than to the MK 18-55. After the attachment, make sure to place your camera and lens/adapter on a flat surface to ensure correct aligning of the adapter and lens. On the camera front – if working with a full frame camera like the Sony a7XX – don’t forget to change to APS-C/Super 35mm in the menu settings. As a side note, it is unfortunate that there is no “de-squeeze” function in those Sony a7XX cameras, as what you see in the LCD/VF is NOT what you get! On the positive side, since the adapter is lightweight, it is possible to work handheld and even without lens support, although if you do have the opportunity to add support, please do so. Photo exported from the timeline. Quality of the adapter glass “off-center” is good too! The SLR magic Anamorphot 65  – Lens Adapter Performance For the last few days I was running around equipped with the Sony a7 III, two FUJINON MK lenses and the adapter. I can report that I liked what I saw, but with some reservations. In terms of which lens to use, the FUJINON MK 50-135 looks to be the obvious choice, as its complete focal length can be used when the adapter is attached to it. The thing is that the starting point of 50mm is too narrow for my taste and in addition, sharp focusing was extremely challenging for me and as a result, much of the footage I took when using this lens, seemed to be a bit off. Now, switching to the FUJINON 18-55mm, it was as if the adapter just got a new life. Although focusing was not always easy, (more about that in a second), the images I was able to capture were simply wonderful. I really like the fact that the adapter is able to keep sharpness almost from edge to edge. So where’s the catch? As predicted, you can not use the complete offered lens focal length but rather a part of it, starting at 30mm – which is almost perfect for anamorphic work. On the narrow side, 55mm is a bit to short, but for planned projects, where you have the possibility to be closer to your subject of interest, it will certainly do. Dual focus necessity. Lens and Adapter. Distance markers are matching The SLR magic Anamorphot 65 – Main Concern So far so good, but as with many other products, there is this little (big) thing that makes the overall user experience, when using the lens adapter, far from being perfect. It’s the double focus procedure necessity, meaning, focusing must be preformed on both, the lens and the adapter itself. The good news are that the marking on both is very similar and as the anamorphic adapter was made with the FUJINON MK lenses in mind, the alignment is perfect, so if your focus mark on the lens is 10ft. just turn the adapter focus ring to the same number value in order to achieve perfect focusing. It’s not that we haven’t seen it before, but in this case it is simply a pity, as it does take time to focus both. Moreover, there is absolutely room for mistakes. I really wonder if it is possible to build a “custom handle” that can be attached to the lens focus ring on one side and the adapter focus ring on the other, in order to simplify the process of focusing. (Sorry, I can’t think of a solution to make the life of focus pullers any easier)… SLR Magic Anamorphot 65 on a FUJINON lens. My favourite is the MK 18-55mm Conclusion This time I’ll base my conclusion on three points: Price, usability and optical performance. Price is a subjective thing. I do think that for what you can get when working with this anamorphic lens adapter, the price is manageable. Usability is were this attachment scores the least. It is the double focus procedure that will slow you down when working and on top, might cause some hesitations when focusing during filming (and lets face it, as the resolution goes up, the days of soft images are numbered)… When it comes to optical performance, I really like what I saw (I especially salute SLR Magic for staying in-line with the FUJINON’s MK lenses’ performance and not choosing to go the “crazy flares” path). The combination of SLR Magic’s Anamorphot 65 together with the FUJINON MK 18-55mm is perfect to use when budget is a concern yet an anamorphic look is desired. Now I just need to invent something to focus both at the same time…. The above video was edited on Adobe Premiere CC latest edition. Shot on Sony a7 III, PP7 (S-Log 2), mostly on 800 ISO, and treated with Film Convert. Music used in the above review is taken from Art-list Music theme: Me and You by Oliver Michael  Do you like the quality of the footage shot with this anamorphic adapter? Would  you like me to upload the anamorphic file for you to download and observe at home? Let me know in the comment section below. 

The popular FUJINON MK lenses can now be adapted to Micro Four-Thirds and FZ mount thanks to Duclos Lenses and MTF Services. Since their release earlier in the year, the FUJINON MK 18-55mm T2.9 and 50-135mm T2.9 have been a very popular choice for E-mount camera users on the FS5 and FS7. Their versatility in focal length and aperture makes them ideal for anything from independent filmmaking to documentary-style shooting. This versatility is now coming to Micro Four-Thirds, Sony FZ mount and FUJINON X-mount cameras, opening up a new range of possibilities for owners of the Panasonic GH5 up to high-end production cameras like the Sony F5/F55/F65. In the UK, MTF Services can adapt both FUJINON MK lenses to Micro Four-Thirds and FZ mount systems. There is no pricing currently listed, and you would need to ship your lenses to MTF Serives. For more information visit the MTF Services website here. Duclos Lenses are also offering the conversion service from E-mount to Sony FZ mount in the form of a DIY kit, which can be purchased for $500.00 through their web store here. Both FUJINON and Duclos Lenses have stated that this is a like-for-like mount replacement with the same screw configuration. FUJINON will also be supporting the X mount for cameras like the X-T2 in the future, increasing the compatibility of the lenses with its own brand cameras. Unfortunately there is no possibility for these lenses to be adapted to EF mount, as FUJINON has stated this is physically impossible. Are you a Micro Four-Thirds or FZ-mount camera user interested in using the FUJINON MK lenses for your filming? Let us know in the comments.

The Fotodiox DLX Stretch lens adapter adds ND filters, macro magnification and aperture control for manual lenses. Fotodiox has been a popular choice for lens adapters, offering various options that aren’t as costly as those from Metabones. The newest addition to their line-up, the DLX Stretch series, is much more than just a bare-bones lens adapter. In addition to adapting your lens for use on a different camera body, it also introduces three extra features: a lens barrel extender to achieve macro magnification, manual aperture control for Nikon lenses and most interestingly, drop-in magnetic ND filters. The macro magnification feature works by turning a dial on the lens barrel, causing it to extend. This pushes the lens away from the sensor, creating a macro effect with any lens. This is similar to how extension tubes work, but in this case it all happens internally in the adapter itself. In the Nikon version of the lens adapter, a built-in aperture control has been added for Nikon lenses that have no manual control. If you are using Canon lens, It’s important to note here that Fotodiox recommends only using manual Canon EOS lenses, as there is no electronic control from the adapter to change aperture in camera. Lastly and probably the adapter’s most intuitive feature, is the drop in magnetic ND filters. These are placed in the rear mount of the lens to stop down the exposure, ideal for achieving shallow depth of field in bright situations, or for Sony mirrorless camera users shooting in an S-Log profile which requires a higher ISO. The DLX Series includes ND4/8/16 in the package, but more ND filter stops will be coming soon. The filters sit snugly in the rear mount of the lens and need a nudge or shake to remove them. The Fotodiox DLX Series adapters are available for a number of lens mounts and body mounts, which include: Body mounts: Sony E Mount, Micro Four-Thirds, Fuji X Mount. Lens mounts: Canon EF, Canon FD, Contax/Yashica, Leica R, Minolta MD, Nikon, Olympus Zuiko (OM) and Pentax K. Price wise, at $129.95 the Fotodiox DLX Series adapters are certainly affordable in comparison to products from other manufacturers. However, due to the lack of electronic control, features such as autofocus or image stabilisation will be unavailable to you and you are mostly going to be limited to using manual lenses. You can see the Fotodiox DLX Stretch in action in the video below. For the full range of adapters, check out the Fotodiox website. Does the Fotodiox DLX Series adapters give you the extra features you need for shooting with a mirrorless camera? Let us know in the comments.

Chinese manufacturer Venus Optics has just released a new lens adapter called the Laowa Magic Format Converter. With it you can use your existing full-frame Canon or Nikon glass on the mighty sensor of the medium format Fujifilm GFX 50S camera. Let’s have a look! The Laowa Magic Format Converter The Medium Format Fujifilm GFX 50S Camera is Finally Here and Shoots Video. That was the headline of our first article about this stunning medium-format beast from Fujifilm (check out the article here). Unfortunately, that superior sensor has a major downside built right in: it’s sheer size renders your existing full frame glass useless since the smaller image circle would produce massive vignetting. The solution? Well, meet the Laowa Magic Format Converter by Venus Optics. You might think of calling it a Speed Booster, but that is not quite the case here since it’s actually more of a Speed Shrinker. A Speed Booster will shrink the image circle produced by a full-frame lens in order to fit, say, a Super 35mm sensor, acting as a magnifiyng glass which is why the image becomes brighter. As a a result, you gain an extra stop of light hitting the sensor. Conversely, the Magic Format Converter is designed to increase the size of the image circle a full-frame lens is capable of rendering, allowing it to cover the huge medium-format sensor of the Fujifilm GFX 50S camera. The downside is a decrease in incoming light because the same amount of light needs to be spread out over a larger sensor area. As a result, you’ll lose one stop of light. Image Quality Although the Magic Format Converter isn’t quite ready for shipping, the results already look very promising! There’s no visible vignetting and the overall sharpness seems to be very decent. Oftentimes, the peripheral image sharpness gets pretty degraded when using low quality adapters. No vignetting! Read all about this new Magic Format Converter over at venuslens.net. You can find lots of comparison shots there and you can even download the RAW files for further inspection. Pricing and Availability Pricing hasn’t been set yet but the Magic Format Converter should be ready soon, and is expected to start shipping in July 2017. The Adapter will be available in two versions: Canon EF to Fujifilm G and Nikon AI to Fujifilm G. Several Laowa lenses on the Fujifilm GFX 50S using the Magic Format Converter. Also, the engineers over at Venus Optics seem to be eager to improve the adapter even more. Therefore, they are seeking Fujifilm GFX 50S owners in order to gather feedback: We are currently inviting volunteers who owns a Fujifilm GFX 50S to test and jointly make this adapter a better one. If you are interested, please send us more information about yourself via email. [email protected] What do you think? Is it time to jump on the medium format train? Share your thoughts in the comments below!

Lens attachment manufacturer Zunow have unveiled their latest wide angle lens attachment at IBC 2016: the WCX-100 for fixed lens cameras. Achieving wide angles when using a fixed lens on a 2/3 inch or 1 inch sensor video camera can be difficult at times. Zunow have a family of 5 lens attachments that widen the field of view by 20% with very low distortion. This video features the WCX-100 model. You are able to fully zoom through on the fixed lens from wide to telephoto with the attachment on, which is an advantage for shooting ENG style news reporting. The WFK-95 is for 4K cameras like the Panasonic DVX-200 and widens the field of view by 0.8x, which makes the image 20% wider. It has a front filter thread of 72mm for use with conventional filters, with a short length of only 35mm. The other lens attachments in the family include – WCX-80 which is compatible with 62/72mm size lenses. WCX-100 wide angle conversion lens which is compatible with 72/77/82mm size lenses. WCX-200 wide angle conversion lens which is compatible with Sony EX Bayonet mount. SWA-06 is a super wide angle attachment, increasing the field of view by 0.6x, compatible with 72/82mm size lenses. The lens attachments are available to purchase now from CVP, with prices ranging from from €536.00, and B&H from $449.00. What do you think of these lens attachments, and would they work for you? Let us know in the comments.

Aputure is about to raise the bar once again, this time with a DEC VariND version of their popular line of lens adapters. This thing is capable of bringing the functionality of Sony’s FS5-style electronic ND filtration to any E-Mount camera. The DEC VariND Lens Adapter We just have discovered another very interesting device, this time at the Aputure stand at this year’s IBC. The new version of their lens adapter, the DEC VariND works just like the DEC Lens Regain focal length reducer, but instead of a lens they’ve put in an electronic Variable ND filter. This allows you to smoothly dial in just the right amount of ND reduction for any given shot. It works quite similarly to the vari ND built into the Sony FS5 camera, where liquid crystals are used to achieve the smooth transition without the weird colors and cross-effects caused by manual variable NDs. With this adapter, you can upgrade any E-Mount camera to support a variND filter, which is very cool indeed. Plus, it also allows you to control focus and iris with most EF lenses, just like with the other versions of the DEC adapter. You control the DEC VariND with the included wireless control grip or, if you’re using it on a shoulder mounted setup, you have controls directly on the adapter itself. No need to use the wireless control unless you want to do so. To me this is a really straight forward product which bridges the gap between the very innovative electronical VariND of the Sony FS5 and other cameras still lacking it. It will be available in about 2 to 3 months and it will be around $650. For more information, make sure to visit Aputure’s website and watch out for updates. UPDATE: I’ve forwared your questions regarding the DEC adapter to Aputure’s Ted Sim. Here are his (very promising) replies: 1. On release there will be two versions: an EF to E-Mount and EF to MFT Mount. 2. You are able to control the adapter without the remote control. There is a wheel on the adapter itself to control everything except focus, which can be adjusted just manually. 3. There’s an On/Off switch. 4. At the minimum setting, there will be 1 stop of ND applied. However in the future we think we can make it so the ND is removable when needed. 5. Battery life: 4 hours for the receiver/adapter, about a week for the remote control handgrip. The adapter can be charged via 5V USB, even while in use (you can use a gimbal for charging it while shooting, for example).  

By now, almost everyone might have heard of the Metabones Speed Booster, a brilliant adapter that allows you to achieve a full frame look on a cropped sensor (APS-C or Super35) camera – particularly Canon EF lenses on Sony E or Panasonic GH2/3/4 cameras. The Speed Booster uses high quality glass that “compresses” the full frame image from the full frame EF lens to the smaller imaging area of the sensor, thereby even gaining over one full stop of light. In essence, it makes your lenses effectively “wider and faster”, which is nothing short of amazing. My Metabones Speed Booster Ultra “lives” on my Sony FS7, on which I can use my ZEISS Compact Primes or any Canon EF L lenses using the Speed Booster Ultra and the aforementioned benefits. Following a similar concept in a higher-end package, the newly announced IB/E S35 x FF Expander does something similar to the Metabones Speed Booster, but exactly the other way around: It’s meant for S35 lenses that are used on larger sensor cameras, like for example the RED Epic/Weapon. It’s a fact that many higher-end professional film lenses are S35 only, because they were created to expose the S35 negative of film stock, which is about half as big as the “full frame” 35mm from photo stills cameras (first used for filmmaking with the Canon 5D Mark II, most popular nowadays with the Sony A7 series). However now there are also higher-end cameras like the RED Epic on the market, which offer a sensor that is larger than S35. While the RED offers a crop mode at lower resolutions, in order to utilize the full resolution of the sensor you had to use “full frame” lenses so far. It makes a lot of sense to introduce that concept to the higher-end market, because this adapter further increases the compatibility of lenses to cameras. IB/E Optics created the S35 x FF Expander to facilitate common PL mount S35 lenses, and as we can hear in the video, the “camera side” offers an interchangeable mount which effectively also makes this a PL adapter for all your cameras (however please be aware that there will be flange distance related issues on some camera and lens combinations, meaning you cannot always achieve back focus with all lenses on all cameras – this needs to be tested before you set your eyes on a particular combination for a project!). More details on the Band Pro website. It will be available in December and sell for $6900.