Recording.
It must be nice to have autofocus.
Am I in the shot, Lee?
[Lee] I think so.
[clap]
[clapping]
[laughter]
You can be on the right,
but we're not gonna mic it for two people--
‘Cause I'm lazy.
So we'll talk in this sort of trajectory.
You know what I’m sayin’?
-I'll point there? -Yeah.
So I'm trying different things.
I'm here for it.
You're the first thing I'm trying.
So we're not going do a regular video.
I don't know if this part's even going to be in the video.
I think it will be because I'm saying
-this part’s in the video now. -OK.
So SIRUI--
No. Wait. Hold on.
All my videos say, "Sur-ee" or "See-roo"
or "Si-roo," and I've seen your video
explaining how to do it. So can you just--Can we do it--?
I didn't make the rules up. I asked them
and I also watched a video of like somebody
at NAB or whatever.
And they were like, "Soo-ray" so that's what we're calling it.
SIRUI, I apologize for all my mrince-- Mince--
-Yeah, your minced words? -All my minced pronunciations.
So anyway, they sent new lenses.
They’re full frame, 50mm T2.9 1.6x
full frame anamorphic lens.
Basically, it's a full frame discount anamorphic lens.
OK, open that on up.
It's uh...
-Can I throw it? -Yeah, do whatever.
They do like an Indiegogo, I think it is, right?
So that's a Kickstarter, right?
I've used the micro four thirds one.
There's a review of it on my channel.
Pretty solid lenses.
I'm more interested to see how the flares look.
Accessories.
Want to see what’s in there?
Oh, and shout out to Lee Zavitz
on the ones and twos over here.
[laughter]
I don't know what that expression means.
I stole that from Lew.
On the ones and twos.
[laughter]
What's in this one?
Accessories? What are lens accessories?
-None of these-- -I’m guessing pouch--
-There's no hood in here. -I'm guessing pouch
-And the answer is-- A pouch. -Suede
It stinks quite strongly but there's a nice
little velour on the inside.
It’s actually kind of fishy, not going to lie.
Yeah, that’s not good.
These are probably the most affordable
full frame anamorphic lenses out right now.
-I would think so. -Right?
OK, this one's for E mount.
I've got to grab an A7 SIII.
Watch your knees!
The internet will love me shooting on Sony today.
Yeah, so they come with four mounts, is what they tell me.
Sony E, L mount, which is you--
I’m excited about L mount, yeah.
Um, Canon RF, apparently.
Nice.
And Z mount which I'm assuming is for Z Cam...
Z mount? Nikon Zee mount, yeah.
Or zed mount.
[Lee] Zed Mount.
-It's Nikon, then. So it's not-- -[Lee] Possibly.
-Z Cam is EF mount. -You're right.
It's ‘cause they have like Z log
and Z this and Z that.
All right, well scratch all that.
Scratch all that, yeah.
And as I was saying, Nikon mount for the last one
because I don't make mistakes on video.
I would say that this would probably be best
-on L mount only because-- -Agreed--
Panasonic has really great built in anamorphic modes.
And I just think Panasonic's great in general.
Yeah, so we'll talk about the desqueeze.
This guy is a 1.6X which you're supposed
to be holding and moving it, by the way
and tell me about the feel, OK?
It's heavy, that’s how you know, it's expensive
even though it's actually quite affordable.
[Gerald] It's a 1.6X which means that if you want
conventional anamorphic cinemascope,
whatever you want to call, in theory,
they normally aim for like a 2.39:1,
2.4:1 which means you want to shoot
that on a 3x2 sensor to get the correct
sort of thing. If you shoot it on 16x9
like these cameras-- This one, the Nikon
and the Canon-- They're all 16x9.
Nobody else does a 4x3 or 3x2, right?
Then you're going to get like a 2.8:1.
So it's going to be wider and you're going
to be chopping stuff off.
And if you shoot it on a 4x3,
then you're not going to get quite wide enough.
No.
So the sweet spot is a 3x2 which only two cameras
of this mount style, I think--
Well, it's the Panasonic S1H and I looked it up.
S1 got the 6K, 3x2 mode.
Interesting. So my S5 would not be able
to shoot this properly for desqueezing in camera.
You'll have to do some of your own little
work in post but if you wanted to--
But you still can't desqueeze them in camera.
Correct.
The anamorphic modes are only 4x3 on the Panasonic
so you would shoot 3x2.
The back of your screen would look weird.
Yeah.
And you can't even desqueeze it properly
on a monitor because they only do--
It's a bit of a cumbersome pain
to probably shoot with this, which we'll find out
when we actually start shooting with it. But--
-Yeah, actually throw that on. -K.
I'll get a battery and I'm going to bust out...
An Atomos.
Someone's going to meme this
because I always make fun of Sony.
The truth is, I do actually really like Sony.
I just play the part for YouTube.
Ooh, that's a nice case.
So you don't get that with the $500,
$600 Ninja V.
Feels like a DJI case, actually.
Oh, this case is really nice, man.
-Yeah? I haven’t opened it yet. -Yeah.
I’m feeling the kind of gun metal grey too.
Yeah, see, it's got like, a different finish
-than on a Ninja. -[Gerald] Oh yeah, true.
That's true. All right.
It’s how you know you paid a little bit more money.
It's always good to brag. Show off a little bit.
So this lens on this body--
I don’t know if you can tell but it's not--
No. It's good that it has the lens support back there.
-Wait no, we got to do it-- -Get to peel on camera.
Gary Everyday Dad, this is for you.
Who-- Who you pointing that to? Look at your monitor.
Hold on-- There's no camera here? Oh my God,
there's no overhead camera. OK. The audio is for you.
Gary, here you go. Wait.
[zipping sound]
[whipping sound]
-It wasn’t impressive-- -It was awful.
-Not in the least bit. -It’s gonna get cut.
[Gerald] OK, so we look at Patrick in the shot.
We got flares too. We can see the different--
Like we should get a good sense of what he should look like.
So without any desqueeze going on,
this is what we're looking at. Got a little cone head.
And then you've got the 2X 4x3 option,
the regular 2X-- [laughs]
It’s cinematic!
1.8 looks better but I--
even though it's wrong and I think 1.5
which is also wrong, is your best bet
for monitoring.
The SIRUI lens that I reviewed on my channel
for micro four thirds had not been rehoused yet for cinema
but I do believe they are rehousing
the entire lineup for cinema, if I'm not mistaken, right?
-Oh really? -Yeah.
They mentioned something about rehousing in the email.
Yeah, so I've seen cinema lenses for like the Super 35 ones
that they have but this is a full frame lens
but it's also cinema, which means you have
gears for your focus and your aperture
and we talk about this all the time.
Just having gears and all that stuff
just looks a little cooler, feel more cinema.
Oh yeah. What do you think the pitch on these?
Does that like, typical?
But-- Let's see.
Yeah, it looks like it has like whatever the stan--
I don't actually know the number, whatever the standard
kind of like pitch is on those gears.
But you also have a de-clicked aperture which is nice.
So if you need to change from bright to dark,
you can do it gradual and smooth.
And I would say that's the one thing
that feels a little bit tight,
little tighter than I would normally like.
But the focus--
The throw is kind of short, though.
Yeah, it’s shorter than I thought it would be
for a cinema lens, to be honest. But it's smooth. It's clean.
This is tight. Feel the aperture.
82mm front filter thread.
So I busted out the old...
-The old PolarPro-- -The old Peter--
I would say that I'd rather have
a stiffer kind of aperture ring, though because--
You don't want it to slip on you, yeah.
Yeah, I don't want-- Like I want--
Especially if I'm going to have my hand kind of like here for...
-But the focus feels nice. -Now we should keep in mind
that you guys came at like, noon.
So, we're going to go shooting
out in like high noon sunlight--
Prime time for some quality anamorphic shooting.
Yeah, we'll be looking for like mid-level
reflections on chrome and stuff like that
and probably Lee with his iPhone.
That’s right--
With the light on because I just want to--
I'm more curious about the flares
than anything else.
Also, it's nice having 50 mm on a full frame lens
for depth of field, so we'll see
if the bokeh swirls kind of kick in
because that was a little bit harder for me
to find on the micro four thirds version.
So, I'm stoked.
Something to test because it was an issue
on the crop versions, was that the way that this focuses
or, I don't know, the way that the previous one focused
was that the focus groups moved the anamorphic elements as well.
So when you close focused, your squeeze was different--
Gene talked about that. Potato Jet talked about that.
And then there was a good video from,
I want to get the channel right,
it’s like, Anamorphic on a Budget--
-Zain, I think his name is? -And I think just
-covers anamorphic. -Yeah, he’s great.
Really sweet seeming guy in his videos
and he went into depth on that,
explaining how there's different ways to focus.
It's not like SIRUI is broken. There's other companies
that have been doing this all along
but it's basically if you're moving the focus groups
that include anamorphic elements,
then your squeeze factor is going to change as you focus.
As far as min to max on this one,
0.8 or 2.5 ft-- It's actually reasonably close
-because-- -That’s pretty good, yeah.
We can-- OK, we'll do it after.
We’ll record a test, very next, right next.
The next thing you're gonna see
is a test of us close and far on a person's face
and we'll see if it changes the squeeze or not.
[Patrick] Sweet.
Anything else you want to talk about before
we go shoot some stuff?
[Patrick] I would just say I think it's exciting
that these lenses are being made because I had been
researching anamorphic for a long time.
And you know, aside from getting old,
projector lenses and crazy adapters
or spending tens of thousands of dollars,
the idea that these are getting democratized
and more affordable is just extremely interesting to me.
So even if it isn't the best quality in the world
as a budget affordable option for your perspective
to shoot anamorphic-- That is very exciting to me.
What do you think of the price for what it is?
‘Cause it is a bump, It's like almost, well,
$1,200 for the early bird, $1,500.
Do you think for full frame, that's a good price?
I think, yeah, I think--
Do you think that's still democratized?
Yeah, ‘cause I think context matters, right?
‘Cause it's like if you wanted
full frame anamorphic lenses, you're spending
three times that usually, right?
So if you've got to trade off a little bit
of optical quality to save some money.
Whereas most people will watch and be like,
“This is crazy, it looks like I'm watching a movie.”
You're going to get the nice lens flares that you want,
I think the price is actually pretty solid.
Not a huge fan of that aperture.
[Patrick] It's weird, right? That’s what I said.
[Gerald] Too stiff?
Well, when you're using like a higher end cinema lens,
these would feel exactly the same.
So the aperture and the focus ring
would feel exactly the same.
Focus ring feels smooth, I guess,
but the aperture ring is kind of gritty.
It's got a bit of a grittiness to it
but it's not that heavy.
It looks bigger than like, the weight of it.
So there's minimum focus right there on the lens cap.
[Patrick] That's more than good enough.
What am I at there? Like two and a half feet?
Yep, yeah, you’re pretty close.
That’s not bad.
[funky pop instrumental]
So one of the things I'm noticing so far
shooting for a small period of time.
It's actually kind of difficult to get it
to flare off like a reflection.
If you shoot it right at the sun, flares galore.
But sometimes I just want like a subtle flare
off like the chrome of a bumper
or something like that but it's not
as prominent as I probably want it to be.
Ah, you know what we forgot to do?
Completely forgot to shoot the like, funny sponsor segue thing
we were going to do. So...
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Something that I noticed when we started editing this footage
is we had IBIS turned on with the a7S III.
Now the Sony does not have a specific
setting for the IBIS for anamorphic lenses.
So you might see a little bit of warbling
or wobbling, sorry, in these corners
and in the sides of the image.
If you have a Panasonic camera,
there is a specific anamorphic IBIS setting
that I would suggest using.
I still think it's better to leave it on
even if your camera doesn't have an anamorphic setting
because the micro jitters are worse, in my opinion,
than the warbling and wobbling
that you can get from the anamorphic lens
with IBIS on.
So I was able to edit around it.
You might notice it, you might not.
It's just something to keep in mind.
[violin and piano instrumental]
All right. So we're back.
We're back.
So I've got some specs here.
We'll nail those off and then we'll talk
about your impressions.
This is so anybody else does a review,
you can throw to Gerald's video because he does the specs.
This is totally un--
- Un-- Un-- - It's done. It's not undone.
-It’s done. -It’s not undone.
10 aperture blades.
I guess, yeah, we could--
Nobody really cares that much about this
but like, we could look at how smooth the--
-The focus? -Yeah, exactly.
I mean like, generally-- We'll probably talk about it
but generally speaking, the bokeh was fairly pleasant
I didn't call it super swirly anamorphic bokeh
but I didn't have any glaring issues with it.
10 Blade should be enough at 2.9.
I mean, you're not going to be super--
I don't know. It's probably fine.
People aren’t buying these two have like,
“I want perfect, spherical orbs.”
No, imperfections are actually good.
[Gerald] I’ll bust out the fairy lights.
-Beautiful. -[Gerald] And we can actually--
Test that dish-- Delicious, Bokeh.
[Gerald] Yeah, we'll see what we actually get.
-Should I go over there? -[Gerald] Yeah.
Minimum focusing distance, 2.5ft at 0.75 metres.
[Patrick] Solid.
[Gerald] Maximum magnification is 1 to 12.83,
so it's not even close to a macro.
You have to dioptre that.
A 95.5-- They got a lot of good specs.
They even give you the focus, there.
95.5 degrees which is short.
[Patrick] Short, yeah. It doesn't feel
what I would say, similar to most cinema lenses
that I'm using, which is a very long
focused throw ‘cause you're using a focus puller.
So actually, each mount is slightly different
but they're all around 1,050 grams
or 2.3 pounds.
All right, that's the specs.
So what was your overall thoughts?
I think generally speaking, overall--
-[bleh] -[laughs]
-We're not doing outtakes. -We have to do outtakes.
So I think, generally speaking, I do love the lens a lot,
in the short period of time that I've had it.
I could see myself using this for a documentary.
I think it'd be really cool for some commercial work, too.
There's some little quirks that we'll talk about
a little bit more, I'm sure.
But generally speaking, overall,
the ease of use, the price-- I could highly recommend this
as someone wants to just start dabbling
in anamorphic but not go off the deep end
because it is a very, very deep end to go
into anamorphic. For me, I think
the horizontal flare is really nice.
It's a bit strong but it's that secondary
ghost flare for me that I could say, subjectively,
it's not my favourite. I feel like it pulls you
out a little bit more--
‘Cause it seems almost like a little artifact
-moving across the frame-- -[Patrick] Yeah, it actually
reminds me of like, a cell phone flare. It feels like
a smartphone flare and it doesn't feel--
I hate to use this word but like premium or expensive.
-It does feel budget and cheap. -Yeah. And we didn't talk at all
about sharpness or whatever but I feel like, who cares?
The previous ones I found were so sharp
that I'm not worried about it being soft as a problem--
No--
But even if it leaned a little bit soft...
Either way it leans, it's a specific look
and I don't think people are buying these lenses
because they're looking for clinically immaculate images.
And I think good examples are like ‘90s thrillers
shot by like Jan de Bont and stuff.
Like, you watch like Die Hard or Basic Instincts like,
full of horrible, focus breathing
and an astronomical amount of flares.
But like, that's what you kind of want from anamorphic.
You want that vintage, like, bad look.
I think it's part of the flair
for lack of a better word with these lenses,
is that it isn't a perfect, clean, clinical image.
[Gerald] All right, Patrick, how are we going
-to end this video? -Great question.
I think we are ending it right now.
-It's kind of anticlimactic. -It is.
♪