Like the versatility of a magic arm but hate the inevitability of the threads slipping lose and damaging your accessories? The Walimex Pro Anti-Twist is designed as a safeguard device that works in conjunction with your magic arm to provide a solid mate on both the camera and accessory side.
Frankly, I’m not a fan of the traditional magic arm. Whilst their form factor is useful in placing accessories in spaces exactly where you want them, their function is fundamentally flawed by the requirement of two hands for adjustment and the nigh-inevitable occurrence of either end of your arm slipping lose.
I have yet to use one that does not suffer from the latter. Unfortunately the physics of having threaded mounts on the same axis of adjustments means it will happen at some point—no matter how hard you tighten both ends.
A Solution to Magic Arm Woes?
The Walimex Pro Anti-Twist offers a solution that makes the traditional arm a more exciting prospect.
The device is split into two parts, each connecting between the magic arm and camera/accessory.
On the camera side, the Walimex Pro Anti-Twist offers two points of connection to camera cage and/or cheeseplate. It then receives the magic arm thread, adding a further locking Allen key pin to ensure a solid connection. The dual connection points are right angle to each and offer a degree of adjustment to ensure a more universal fit with a variety of cages/plates.
On the accessory side, the same locking Allen key pin is used on the magic arm, plus a rubber gripped base to accompany the single 1/4″ male thread ensuring the mount remains universal but offers a much more solid mate.
With a strong connection to both camera and accessory, the magic arm can now be used much more freely without risk of the inevitable slip.
Personally, I prefer to use friction based mounts for monitoring accessories as these require only one hand for adjustment. However, other accessories that need to stay put (sound recorders, microphones, wireless transmitters, etc) could all benefit from a system like this.
The Xeen cinema lenses released last year constitute the apex of Samyang’s catering towards filmmakers. Now, two new models have joined the Xeen family.
A few years ago, Samyang’s affordable and all-manual photo prime lenses, became incredibly popular among budget filmmakers. Shortly after that, the Korean manufacturer built upon this initial success and continued to improve their range by featuring de-clicked aperture rings, focus gears and T-stop scales, and the Cine DS line of primes was born. Fast forward to 2015, when Samyang released their Xeen cinema lenses. Check out Richard’s article, from last August, which reveals why they are such a big deal.
With an initial line-up of 24mm, 50mm and 85mm, the Xeen range offered a usable yet somewhat limited variety of focal lengths. However, promotional material on the Samyang page had been hinting at the imminent release of 2 new additions to the Xeen line. Well, they have finally been revealed.
So, what new focal lengths can we expect from the new Xeen? Samyang is filling the centre gap with the standard and versatile focal length of 35mm. Landing between the 50mm—useful but potentially a little tight in certain situations—and the 24mm, which leans toward the wide angle side, the 35mm focal length will certainly be a welcome addition to the range.
The other newcomer fills the gap at the ultra wide-angle end of the spectrum. With the release of a 14mm focal range rated at T3.1, we can see that Samyang’s Xeen range really reflects their previous Cine DS line rather than introducing completely new concepts, at least in what respects to focal lengths and T-stop rating.
But Samyang couldn’t wait to leave us wanting for more. Upon revealing these two new additions, a new mystery lens has been added to their promotional material. Although it has been known for a while that there would be a sixth Xeen lens, initial speculation tended towards telephoto, perhaps a 100mm or 135mm. However, as you can see, we might see something quite different indeed.
A strong contender for the new upcoming wide angle Samyang Xeen could be an 18mm, a focal length until now not available anywhere in the Samyang catalogue. There are of course other rectilinear wide-angle cine lenses in Samyang’s VDSLR range that they could draw inspiration from. The are, however, designed for APS-C or Micro Four Thirds sensors.
All in all, considering the excellent build and image quality of the first three Xeen cinema lenses, we have nothing but high hopes for the new additions to the family.
Be sure to check out Richard’s first impressions review for the low down on Samyang’s Xeen cinema lenses.
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It’s always refreshing to see companies who compete in the same or similar markets sit peacefully together and talk to each other, rather than trying to make others look bad for their own gain. We have this beautiful example here with ZEISS, SLR Magic and Samyang, three VERY different manufacturers of lenses.
To be more exact, it’s Christophe Casenave from ZEISS, Andrew Chan from SLR Magic and Joost Wierenga for Samyang (from Disnet B.V. distributor).