And because the adapter will probably weigh as much as your lens, you will need some kind of lens support. Limitations in close focusing mean you will probably want to use dioptres such as the SLR Magic Rangefinder if you want to focus closer than 2m or so. Firstly you need to make sure the lenses you already have are compatible – with a native 62mm rear thread the SLR Magic Anamorphot-50 2x adapter is only suitable for lenses that have a front element size of 50mm or less. In theory options like the SLR Magic Anamorphot-50 2x adapter and its cousin the SLR Magic Anamorphot-40 1.33x adapter are a perfect choice. The use of an anamorphic adapter can be an ideal solution if you have a camera setup with multiple lenses and you want the anamorphic effect across them all. Although this method achieves a cinematic look, it also degrades the footage and results in lower-quality images.
One common practice is to convert a 16:9 camera image shot on a standard lens into a 2.4:1 cinematic aspect ratio via post-editing applications. While filmmakers and videographers talk increasingly of the widescreen cinematic look that the best anamorphic lenses can provide, you make be surprised to know that anamorphic lens cylinders were first developed for tank periscopes during World War I to get a wider look outside.įilmmakers are constantly looking for ways to improve the aesthetics of their film, using dedicated cine lenses, as well as color grading and aspect ratio manipulation in post-production. It is surprising how often technology developed for one application finds use in another, for which it then becomes ubiquitous. No longer do you need an anamorphic projection lens to correct the squeezed image now this can all be done in post-production. While anamorphic lenses became popular in analogue filmmaking, as cinematographers explored the visual impact of the wider CinemaScope aspect ratio, they have enjoyed a surge in popularity among digital filmmakers who want to use the best cine lenses available.
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