I think the key is to decide if the tool serves the story. Most stories can be told without an anamorphic lens. I think the 50mm f1.8 and 24mm f1.8 (on its way to me) is enough for me. I can always switch to APS-C mode to get tighter on either lens. Which would give me a 75mm and 35mm look as another choice. I had a couple anamorphic lenses. Both of which I shot some tests, but never used for any project. I made one RUclips video with the SIRUI 35mm f1.8 anamorphic lens, and nothing else. I ended up trading with it and the FX30 (and a couple other Sony lenses) to get the S5ii and the 50mm f1.8 lens. Best trade ever. I'm back with LUMIX and couldn't be happier. Thanks for sharing your experience. You reminded us that it's the story that counts. And that's the bottom line.
Totally agree with you and in fact, ALL stories can be told without an anamorphic lens. I think it's all about what you have and/or what you desire to use at any given moment. The greatest lessons I have learned about filmmaking came to me when I shot my first feature on my LG V40 smartphone. I didn't feel limited for even one second while shooting that film. Two hours and seven minutes of an award winning film resulted from just serving the story, and so, as my journey has continued, and I have been lured here and there with gear and deciding what I need in my "toolbox" to tell my stories, I find myself more and more being content with what I have, and lusting over only what I absolutely need to create my art. I know you have set yourself up with a kit that will make you happy and have you being the creative spirit that you are, unobstructed with things that don't really matter. Things that more distract us than help us, and that's a fact. Congratulations on this part of your journey, what's cool is that you are beginning again, now armed with all of the experience you have gained over all of the work you have already done over the years, made a decision to arm yourself with gear that you acquired based on real-life experience, and so, for you, once again, in this moment, life is filled with endless possibilities. Awesome!
@@imagenatura Amen to that. Been there, done that, over the last couple of years I’ve really learned to trim down my gear and clear my head for the most important part, telling the story. :-) It’s so easy to get caught up, but I think it’s just as easy to let it go and get back to the art.
Don't know if you don't try....(nice intro by the way) but at least you didn't purchase super expensive ones. That's like mist filters and 85mm - got 'em and like 'em on others work but not for me. For what I shoot I honest can get by with a 50mm and 35 or 28mm (don't care for 24mm weirdly) for primes. Boring but effective. It's like finding the right Fuzz pedal that works with your pickups and amp...
I actually love the anamorphics that I have, but to be honest, I love pretty much any lens I put on my camera. lol. It all works for me. have preferences, but I can make anything work. As far as these anamorphics... I just realize I don't need them, and they are the most hassle to work with of everything I have, and so, why? ;) Out the door and on to someone who will make good use of them.
I get your point but do consider that those chinese 1.33x lenses hardly have a classic anamorphic look. Heck even 1.42x (iscorama) and 1.5x are just on the boarder of that 'look'. In that case you're better off letterboxing a solid vintage spherical and call it a day. If you truly want a special look that does not look like letterboxed modern spherical consider experimenting with 2x lenses. Especially DIY, it is a craft that requires patience and knowledge but you'll be rewarded with a unique look that is worth a million bucks compared to these 12 a dozen of the shelf soulless chinese lenses. Since these chinese lenses are flooding the market you can pick up a nice 2x vintage scope for almost nothing nowadays. Combined with a good spherical I can promise you it'll be night and day with anything off the shelf.
@@ichidomo thanks for the feedback, I will definitely check out a 2.0 at some point. I actually love the way the lenses look that I had, they just weren’t making enough of a difference for me to want to keep them. But I understand what you’re saying. when I watch a movie like 1917, and consider that film was shot with spherical lenses, but delivered in scope, it just shows me that it really doesn’t make that much of a difference. But I’m gonna check it out anyway, and thanks again for this, I greatly appreciate you coming through and taking the time to leave this. Much appreciated.
![Chris Langan - The Interview THEY Didn't Want You To See - CTMU [Full Version; Timestamps]](http://i.ytimg.com/vi/9miVG2xT5jY/mqdefault.jpg)
great intro shots. Particularly loved the jetty shot. Good stuff.
@@wongowonga thank you so much! I really appreciate that, and thanks so much for coming through.
I think the key is to decide if the tool serves the story. Most stories can be told without an anamorphic lens. I think the 50mm f1.8 and 24mm f1.8 (on its way to me) is enough for me. I can always switch to APS-C mode to get tighter on either lens. Which would give me a 75mm and 35mm look as another choice. I had a couple anamorphic lenses. Both of which I shot some tests, but never used for any project. I made one RUclips video with the SIRUI 35mm f1.8 anamorphic lens, and nothing else. I ended up trading with it and the FX30 (and a couple other Sony lenses) to get the S5ii and the 50mm f1.8 lens. Best trade ever. I'm back with LUMIX and couldn't be happier.
Thanks for sharing your experience. You reminded us that it's the story that counts. And that's the bottom line.
Totally agree with you and in fact, ALL stories can be told without an anamorphic lens. I think it's all about what you have and/or what you desire to use at any given moment. The greatest lessons I have learned about filmmaking came to me when I shot my first feature on my LG V40 smartphone. I didn't feel limited for even one second while shooting that film. Two hours and seven minutes of an award winning film resulted from just serving the story, and so, as my journey has continued, and I have been lured here and there with gear and deciding what I need in my "toolbox" to tell my stories, I find myself more and more being content with what I have, and lusting over only what I absolutely need to create my art. I know you have set yourself up with a kit that will make you happy and have you being the creative spirit that you are, unobstructed with things that don't really matter. Things that more distract us than help us, and that's a fact. Congratulations on this part of your journey, what's cool is that you are beginning again, now armed with all of the experience you have gained over all of the work you have already done over the years, made a decision to arm yourself with gear that you acquired based on real-life experience, and so, for you, once again, in this moment, life is filled with endless possibilities. Awesome!
It’s a messed up time of season for me too Rock. Hang in and thanks for sharing your thoughts brother.
@@DanFarrar thanks so much. I appreciate that. Hope you find plenty of joy amidst the struggle.
I've just sold the vast majority of my M43 lenses. Moving on. No more paralysis through indecision.
@@imagenatura Amen to that. Been there, done that, over the last couple of years I’ve really learned to trim down my gear and clear my head for the most important part, telling the story. :-) It’s so easy to get caught up, but I think it’s just as easy to let it go and get back to the art.
Plus it seemed there was a new and OMG cine or anamorphic lens set released every 2 weeks.
Right? That's always the case
Don't know if you don't try....(nice intro by the way) but at least you didn't purchase super expensive ones. That's like mist filters and 85mm - got 'em and like 'em on others work but not for me. For what I shoot I honest can get by with a 50mm and 35 or 28mm (don't care for 24mm weirdly) for primes. Boring but effective. It's like finding the right Fuzz pedal that works with your pickups and amp...
I actually love the anamorphics that I have, but to be honest, I love pretty much any lens I put on my camera. lol. It all works for me. have preferences, but I can make anything work. As far as these anamorphics... I just realize I don't need them, and they are the most hassle to work with of everything I have, and so, why? ;) Out the door and on to someone who will make good use of them.
I get your point but do consider that those chinese 1.33x lenses hardly have a classic anamorphic look. Heck even 1.42x (iscorama) and 1.5x are just on the boarder of that 'look'. In that case you're better off letterboxing a solid vintage spherical and call it a day. If you truly want a special look that does not look like letterboxed modern spherical consider experimenting with 2x lenses. Especially DIY, it is a craft that requires patience and knowledge but you'll be rewarded with a unique look that is worth a million bucks compared to these 12 a dozen of the shelf soulless chinese lenses. Since these chinese lenses are flooding the market you can pick up a nice 2x vintage scope for almost nothing nowadays. Combined with a good spherical I can promise you it'll be night and day with anything off the shelf.
@@ichidomo thanks for the feedback, I will definitely check out a 2.0 at some point. I actually love the way the lenses look that I had, they just weren’t making enough of a difference for me to want to keep them. But I understand what you’re saying. when I watch a movie like 1917, and consider that film was shot with spherical lenses, but delivered in scope, it just shows me that it really doesn’t make that much of a difference. But I’m gonna check it out anyway, and thanks again for this, I greatly appreciate you coming through and taking the time to leave this. Much appreciated.