I am the recent owner of the SIRUI S35 35mm f.8 for my S5, loving the quality of this combo. Just yesterday received my SIRUI 1.25x Ana adaptor and have tested so far on the Spherical Super Zooms; FZ2500 and RX10 IV with very encouraging results from both as an affordable and workable Anamorphic Zoom platform. (Some test footage available on my channel) A few observations on issues you discuss in your excellent comparisons; The Sirui line can always be "tuned down" for saturation/contrast/sharpness with simple Pro Mist filters during shooting, and in post with a myriad of options. Better to have to start with than to try to fake it after the fact. The multitude of squeeze factors from different manufacturers leads to a chaotic situation without any standardization. Doing a multicam shoot is only possible with matched optics from the same brand. This babel of screen aspect ratios only exists in indie online communities. In the real world of Pro Cinema production, the SMPTE (Society of Motion Picture and Television Engineers) has established standards carrying over from analog film based acquisition. The Panavision standard of 2.35:1 has been the standard anamorphic aspect ration for projection ever since the original Cinemascope of 2.66:1 was phased out. To see so many different extremely wide aspect ratios produced by all the non standard squeeze factors is a niche personal taste. Any rumors of future releases of 2X cylindrical optics, will only serve cameras which have the capability to shoot 4x3 open gate, which the S5 does amongst many others. So 2X on 4x3 will bring us back to 2.66:1, much wider than the classical 2.35:1, I have to confess to being a purist. LIKED 👍
Hey hey Sergei! Thank you so much for checking out this video and commenting! Congrats on the Sirui 35! I will hopefully be grabbing the Great Joy 35 here shortly. I will probably do some shots with it on my GH5 to get that 4:3 ratio to start, it'll probably look closer to a 50mm anamorphic I think. I agree that I wish there wasn't all these weird squeeze ratios and just stick to 1.33x and 2x. I have a feeling with so many anamorphics coming in the next few years we will begin to see other companies offer open gate shooting modes on their cameras. Panasonic definitely was early in the game and probably it's thanks to them that we are seeing more anamorphic lenses coming out since the GH4 days. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Finally a comparison between these 2 lens! Thanks ! My choice is the Sirui Full Frame 1.6 series with a Lumix S1, (in 6 k Open Gate 3x2 24p). All the tests with the Sirui series "1.33" (for a GH5 Lumix) had convinced me and I was going to equip myself with the 1,33 series, when the 50mm Full Frame 1.6 version appeared. I have a doubt by noting the big difference in contrast on the Great Joy at 1'.54" compared to the Sirui, I think that on the short film, the Sirui had to be more protected from " flairs ", I rather see in This test of quite similar results, and that reassures me about my choice of Sirui! (Great Joy was not on sale last year) I fully agree with you, there is practically no difference in Bokeh Between 1.6 and 1.8, apart from a larger field on the Great Joy, but the 1,25 optical complement in Sirui arrives, and in certain plans, I think I will have the choice between compressions 1.6 or 2 according to the needs of the plan and the focal length, and even 1.25 with a spherical lens, I find this very interesting. (automatically translated French)
Hey hey Cinemapalace! Merci beaucoup d'avoir regardé cette vidéo et d'avoir commenté ! Je suis ravie que cette vidéo vous ait plu et qu'elle ait confirmé votre opinion sur Sirui ! Leur approche 1,6x avec adaptateur 1,25 est très unique et je pense que ce sera une excellente configuration double pour votre Panasonic ! Merci encore d'être passé! Restez en sécurité, en bonne santé, et je vous verrai dans le prochain !
Thanks for this vid! I have the full Sirui set and the Great Joy with the 35 on the way. I got both sets in RF. Maybe I should have gotten PL- but I have used canon for over 10 years and don’t think I’ll switch. Plus when you save $300 on 3 lenses- it adds up and the RF goes straight on the R5c so easy with no adapter. Sirui’s 1.25 adapter is…. Well I won’t be using it at all for a 2x squeeze and I wouldn’t consider it sharp. So far the 35mm from great joy seems.. just okay. Doesn’t come with blue or amber and the bokeh is being reviewed as odd. Glad my 50mm is a blue, because the 35 will flare in a dark navy blue when it does. Feel bad for the amber 50mm owners. The great joy 50mm has been..well great! Except it is a whole other step in post going through the entire project gaging each shot between 1.62 to 1.8 guessing the distance from the subject trying to get the squeeze just right. It’s not a horrible workflow, and it’s great to learn. I genuinely believe with the lenses hitting the market I will only be working with these sets for a few years before other slightly better options are available. And I already know I won’t be able to sell the lenses for what I paid. Already the Sirui’s are all over eBay with the smell of buyers remorse. Long message, sorry. I have loved your videos on the great joy.. I own the same cheap diopters and the relatable workflow and thought process is a joy to watch. Subbed.
Hey hey Henry! Thank you so much for checking out this video and commenting! Haha no worries on a long message, I'm always keen on reading all comments and see what people think. It does seem like the recent footage of the 35mm has a more busy bokeh. Though part of me feels that understandable because of how wide the lens is at a 1.8x psudo squeeze? Sirui ended up announcing a upcoming Full Frame 1.5x consistant squeeze PL/EF anamorphic coming next year instead of a straight 2x lens. I'm not entirely sure if the 1.5x is going to be enough of an anamorphic look, its on the very cusp of it I would say. Not sure if they are continuing the adapter route for that series to get it to 2x. It'll be interesting to see what its like. Other than that I do have a Great Joy 35mm coming and I look forward to playing with that lens. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
I agree, Due to the flares and contrast, the Sirui seems fitting for a sci-if/action film. Where as the Great Joy appeals to narrative less distracting look.
WHOA?! Ain't you the dude in this video?!! It was interesting to finally take a look at the contrast and saturation differences side by side and just how much more color is coming from the Sirui. It woulda been very interesting it we shot that short film twice, one with the Sirui and one with the great joy just to see how different it would look in different scenes.
Hey hey Bro Tato! Thank you so much for checking out this video and commenting! Super sharp! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Just checking, but are the Great Joy anamorphics now called Blazar with a slightly different cosmetic look? Was there some kind of merger or were they bought out?
The Blazars do have a different look with some similar characteristics from the Great Joys. There was no merger. They just up and randomly decided one day to change their company name. They asked their follows on Facebook to vote on what name they thought was best.
@@TLDR_filmmaker When you say different look I'm assuming you just mean the outside look of the body, but the glass and footage they provide should look just the same as the original Great Joy's, correct?
I meant the optics will look different. The Great Joy's I felt are very clinical with their optic design and bokeh. Very straight to the point 1.8x squeeze look. The Blazar Cato's (if I remember correctly" that I saw at NAB had much more unique characteristics, optically, like having a slight swirl in their bokeh while also being anamorphically stretched. It may be up to taste for some if they decide to go with those lenses. I'd imagine most commercial shooters will want something like the Great Joy's look while narrative filmmakers may selected the Blazars if it fits their vision.
@@TLDR_filmmaker Thanks for the replies. I just have no idea what I bought then, since I just purchased the "Blazar Great Joy" (that's how they're listed, and there was no mention of "Cato") 35 and 50mm anamorphic lenses from B And H. Upon further research it seems like the Catos are a 2x squeeze, and the Blazar Great Joy's that I just purchased are still at just the 1.8x squeeze. So maybe (I'm assuming) I got the more clinical version?
Thanks for this great comparison! I can only speak for the Sirui lens, and one thing I really love is that it does NOT flare like crazy. Take a look at my test shoot to see that I really needed to get the water reflections right into the lens to make them flare: ruclips.net/video/u4vRaQ6YMDw/видео.html I also like the crispness and good contrast of the lens which can always be reduced in post if required for a more creamy look. I know there have been massive flare issues reported with the first badges of the Sirui lens sold under the crowd funding campaign, but they got this fixed quickly. And, when shooting open gate the 1.6 squeeze factor results in the great 1:2.39 DCI Scope format.
Hey hey Joy of Filming! Thank you so much for checking out this video and commenting! That's great to hear that the production batch seems to have tone down the flares! I so wish Sony gives us open gate mode instead of having to shoot raw grrr, its the one thing I do not like about Sony is that they refuse to put pro features in their DSLR cameras like Panasonic. I do miss Panasonic when not filming youtube videos. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Hey hey James! Thank you so much for checking out this video and commenting! 2x is definitely too much for the 16:9 most cameras shoot. Hopefully with more anamorphic's coming to the market more camera manufacturers would just let use shoot video with the 4:3 ratio mode or 1:1. While the 2x is wide on a 16:9, some filmmakers will still shoot with a 2x lens to then crop it down to Cinemascope or even 16:9 so that they retain the anamorphic characteristics. I talk a bit about this in my Great Joy review here: ruclips.net/video/ITXnYES2Q9o/видео.html Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
I have been humming and hawing about getting the recent 35mm and 100mm, but with so much ongoing competition at the moment, I think I’ll wait it out. Btw, your bloopers at the end of the video - in my opinion, you shouldn’t hide that at the end. That should be part of your video. Call it out. Make fun of the situation. It makes the video less clinical and more personable because it’s not perfect. But that’s my two cents. Perhaps your audience loves the “just the clean information” approach. I’ve only seen two or three of your videos. But I think allowing that goofiness and joke-frustration to come through, perhaps in digital/post CUs or ECUs, it adds personality. Again, just my dumb two cents.
Hey hey GETJaby! Thank you so much for checking out this video and commenting! I agree that its probably best to wait it out and see how other brands compete with each other. One winner will eventually come out and play. For the time being at this price point battle, I feel the Great Joy is the best interm choice. We'll see if other companies like Viltrox will compete in this price bracket. The bigger brand names will probably be competing the 5k-10k arena. I generally don't ever leave bloopers unless I find it funny myself. It usually depends on the situations. So makes sense to have it in the moment and some make sense to put it at the end. These I felt needed to be at the end because of how long it took for them culminate instead of it being instant. If it was instant, I would have left it right in the middle of the review as it happened. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Only did a quick glance at the comments but no one brought up that Great Joy looks squattier than Sirui. Look at the guy on the park bench comparison. Great Joy looks like a invisible hand on top of the frame is pushing the image down. Too much stretch.
Hey hey Cam! Keep in mind that when I place the two together the 1.8x squeeze is also going to reveal more picture on the sides. While seeing the two shots next to each other it will create the illusion that the Great Joy is squattier when my body proportions are still the same.
We're in an interesting anamorphic lens space race. Sirui, Great Joy, and Laowa currently offering lenses, all with different characteristics and features within the same competitive price range. There's also the other lenses like the Viltrox mentioned but also some others like Huilens who are developing their own as well. Bigger companies are even starting to lean into making lower budget lenses like Atlas with their recently announced Mercury lens lineup, granted much more expensive at $6k per lens but hopefully this will be a continuing trend with other companies if it shows to be profitable enough. I also agree on the lens mount issue and thankfully Laowa thought ahead on this and made adapters for their mirrorless lenses and their PL/EF lens respectively. Hopefully other companies will either follow this example or what you suggested.
Hey hey Steakslim! Thank you so much for checking out this video and commenting! It is definitely an interesting time and probably the only direction lenses can go for the next few years. There has been a lull in the filmmaker gear dept. and I think affordable anamorphic is the next battle ground. And then whoever wants to win the anamorphic race out of the gate... Autofocus in a budget anamorphic lens. Game over to whichever company want's to come in and drop the mic on everyone. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Not sure EF is going to happen. Canon seems to be cutting back on which companies they allow to make EF lenses if any. Hence Viltrox pulling all their EF glass off the market.
Hey hey again Steven and Tim! I believe Tim is correct that it only affects the RF mount. I haven't read too much into it why Canon is suddenly stopping 3rd party from making lenses in that mount.
Hey hey Diego! Thank you so much for checking out this video and commenting! If you mean when cropping into 16:9, I talk about that in my Great Joy review here: ruclips.net/video/ITXnYES2Q9o/видео.html It does quite well. The Sirui would perform great as well with its sharper optics. Now I wish I had a 6k sensor so that I can have even more crop options! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Hey hey The Film Guy! Thank you so much for checking out this video and commenting! That is definitely worth mentioning, I didn't know the Venice had that squeeze factor support! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
How well does anamorphic function with the many Sony cameras that don't have open gate? The A7S III, FX3, and the rest of their hyprid / photo lineup lack it. Believe only the FX6, FX9, and Venice have open gate. Personally waiting until there are good quality, constant 2x squeeze on offer. Suspect there will be a few options in the coming months. Agree that PL + high quality adapter is the best move for the lens makers.
With the A7siii you get an ultra wide aspect ratio that you can either compose for, or decide to crop down to a 2:39.1 aspect ratio in post. As long as you have a monitor to desqueeze the image while shooting it’s works well. Now that more companies are making these lenses, we only need camera companies to allow use to shoot with the full sensor.
Hey hey again Michael and Nate! As Nate said, an external monitor will help with the filming of anamorphic lenses on a Sony. To a certain extend this would apply to Panasonic as well because of their small screens being squeezed down further, its hard to judge focus. Black Magic Pocket might be the only cameras that I'm aware of where filming in anamorphic out of the gate would be a nice experience with its large screen on the back. In terms of the Sony A7Siii and FX3, you can achieve an open gate if you are filming externally to a Ninja V in Prores Raw. Now that I'm thinking of it I should do a quick test in photo mode to see just how much more pixels can I see in 4:3 vs 16:9 mode.
Sony doesn't really support anamorphic filmmaking at all. I agree I'd rather have a PL mount but if I had any interest in shooting anamorphic on FF prosumer cameras I'd be using L Mount cameras almost exclusively. Don't sleep on the Sigma fp either.
Hey hey Neon! Thank you so much for checking out this video and commenting! That is literally the one thing that Sony should just give us and make us all happy, but of course they wont cause I swear these camera companies all have a meeting and draw straws on what feature they can have. Without a doubt Panasonic is the best camera for a filmmaker that is always behind the lens. For me because of my hybrid work between youtube and cinema, I need to have both. I've thought about the Sigma FP with it's very attractive price tag. Just not sure if I want to jump into that yet over a used Panasonic S1 or S1H. Though I am really hoping to see a FF offering from Blackmagic that has the internal ND's from the 6k Pro. If there is one company that is not loyal to any other, it is blackmagic. They doing their own thing and I'm loving what they are doing! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
As a lover of ‘70s and (especially) ‘80s cinema, I’ve always loved the anamorphic look, and I only recently discovered this world of budget-friendly anamorphic lenses! 😄 I’m definitely looking at copping my first one soon, and this comparison is exactly what I needed. While the Sirui certainly looks amazing, I think I’m leaning toward the 50mm Great Joy. And if I like it, I’ll definitely be getting the others. I’m also a Canon guy and it seems like Canon gets no love in these discussions. 🤣🤣 But it’s all good. Looking forward to seeing how these lenses play with my C70. Thanks so much for your insightful video! Oh, and your expressions when something interrupts your shot are hilarious. I make the same faces when that happens to me. 😆 Thanks again. Cheers!
Hey hey Jay! Thank you so much for checking out this video and commenting! Glad you enjoyed this video and my blooper expressions lol! Great Joy just announced their 35mm and its up for order. If you are wanting to go with a great joy, try to get it during their indigogo launches so that you can get the 15% off the retail price. Yes even on 50mm release when you but it in a set. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
I live in China and often buy things direct from Sirui on Taobao. I will transcribe a conversation I had with them on Taobao a few months ago verbatim. Me: Will Sirui make 2x anamorphic lenses for PL and EF mount? Sirui: Technology is being updated step by step Me: Hmm interesting answer Sirui: Technology is being updated step by step (they said this twice) Me: Kowa made 2x anamorphic lenses many years ago. I think Sirui can do it Sirui: Please believe we can Me: I will buy the lenses if you do it Sirui: You can look forward to it Me: Great! Sirui: (sly winky face emoji)
Hey hey Robert! Thank you so much for checking out this video and sharing your convo! Its unfortunately Sirui didn't just outright started making EF and PL versions right away, I feel they would have made even more sales that way. If I was fortunate enough to create budget anamorphic optics to bring to the market that woulda been my first strategy along with the solid adaptors I mentioned. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Hey hey thunderboltofflammingwisdom! Thank you so much for checking out this video and commenting! Glad you enjoyed the video! I'll keep doing my best! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
What if I use the Sirui 1.25X adapter on the Great Joy 1.8? Will it remain a constant squeeze and will the squeeze be a 2.25X? I need as much squeeze cause my sensor is 5:4.
Hey hey again Chinito! If you used the Sirui adapter, it will remain a constant squeeze. I have no idea if the squeeze will be 2.25x as I'm not sure how the math works with stacking squeeze facto adapters. The only problem you may run into is that you will have a lot of vignetting with the adaptor. Sirui's 35mm and 50mm with the adaptor can only cover a S35 sensor instead of full frame. I'm curious if anyone else has used the Sirui adaptor on their Great Joy lenses.
Hey hey Codename Concord! Thank you so much for checking out this video and asking a question! Unfortunately I do not have any experience with the Laowa 35 nanomorphs yet so I can't really say for sure. If I remember correctly they were S35 anamoprhics instead of full frames, so that'll be something to consider depending on what camera systems you are looking to stay in. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Thanks for the video, great work. I don't much like the idea of flares or anything else showing up in my shot unless I want them. I can add flares in post if I need them. I have used the Great Joy's and am blown away with the quality at this price point.
Hey hey Charlie! Thank you so much for checking out this video and commenting! Definitely nice to have the option! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Does low contrast really make sense for a lens though? I've always been under the impression that a lens cant really be "too punchy" because it's all about capturing light, it isn't artificially adding an effect, and the sensor itself is the real limit of dynamic range w/ detail captured, and then can be graded of course to be low contrast in post. Nobody has definitely addressed this topic on RUclips, itd be a really good one to test. To see if a low contrast lens can truly increase dynamic range without sacrificing detail.
Hey hey Jonnie! Thank you so much for checking out this video and commenting! That is a good video idea. For me the idea of a less punchy lens means that the highlights bloom out a bit of the image and essentially fades the overall colors optically. I haven't tried to get the same look starting with a contrasty image as raising the shadows in post, my guess is that it won't quite look the same without the highlights falling into the image. But this does warrant some testing. I'll need to see which one of my vintage lenses fades the most. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Hey hey again Robert! I meant that Panasonic is the best filmmakers camera because it gives you almost all the tools of a cine camera in a budget price (Waveform, vector, anamorphic etc). Aside from features the Panasonic cameras color science I feel is more pleasing. Their codec's are also compressed much better and is not too taxing on a computers CPU/GPU. If they would just fix their darn Autofocusing system they would have the winning camera, easily.
I came from a GH5 (that I still use) before moving to the Sony (For a more complete camera for my hybrid video needs). The GH5 camera still amazes me today with the videos I can get from such a small sensor and all the features inside. The GH6 is definitely nice for people behind the camera, but because I have to be in front of the camera half the time, I just can't count on the Panasonic AF for quicker youtuber setups.
Hey hey Bruno! Thank you so much for checking out this video and commenting! So glad you enjoyed this video! I will continue to do my best with my content and reviews! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Hey hey ANOMALIA! Thank you so much for checking out this video and commenting! You're talking the cream of the crop there with this Iscorama flares! I hear what you're saying, the new anamorphic lens flares lack a certain grit to them that older anamorphic's elements had. At this moment in time in terms of budget anamorphic's i'd say the Great Joy is the most acceptable type of flare. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
@@TLDR_filmmaker after this I did see come really nice examples of the great joy flaring in really nice ways, so it’s definitely not bad at all. I remember the SLR magics looked pretty nasty, and I’m not keen on the sirui’s. Aviascooe I thought was very pleasing. Thanks for the interesting vid!
They could just make 2x one wtf with those adapters No one cares about open gate or how your camera sensor is 4:3 or 3:2 or 16:9 everyone will crop it for 21:9 and everyone will love it for good bokeh. Still waiting for 2x anamorphic which also does not suck at close distance squeeze nonsense. I mean and price up to 2.5 k
Hey hey Donbros! Thank you so much for checking out this video and commenting! I generally agree that I wish lens makers would have just made a 2x from the start and forgo all these 1.33 and inbetweens. My guess is someone in Hollywood likes those inbetweens for whatever reason and so these companies went that route. All that being said I think the 1.6 to 1.8 is good enough to get the anamorphic feel assuming a consistent squeeze is there. As for close distance, they will need to adopt a different optical design that I think would need more glass to be made into the lens. I think you're not too far off with a budget full frame design to be in the 2.5k area. Though I think 3k is probably the target for such a lens thats full frame. The trade off will be that it either remains a T2.9 or potentially drop down to a T4, thats how the budget companies will try to balance it out while the higher end companies will shoot for a lower T-stop. We shall see what happens in the next couple years, its going to be an interesting space for lenses. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
I dont understand the massive fuss about getting great lens flares. Weve got so many options for compositing them in and they look great. I think id prefer a lens without them, because if theyre burned on film then thats it, you have no choice. always prefer post. Big fan of great joys lens and will probably go that route. thanks for the vid
Hey hey Teddy! Thank you so much for checking out this video and commenting! I think with the flares it depends on the type people are looking for. I'm a fan of the older vintage anamorphic flares in terms of the types of streaks they produce. Not as much of a fan of the barrel flare you'd get with those older lenses. Post flares definitely is the most versatile way to go, but there's a lot of time involved on that end. Having done a lot of VFX after the fact and getting carpel tunnel, I'd rather not leave these creative decision in post and just make a decision in the beginning of production. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Hey hey KillingTheMost! Thank you so much for checking out this video and commenting! Glad you enjoyed the video! I will continue to do my best with my content! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
![DDG & G Herbo - Nosey [Official Video]](http://i.ytimg.com/vi/I9Ra0Zc2NlQ/mqdefault.jpg)
I am the recent owner of the SIRUI S35 35mm f.8 for my S5, loving the quality of this combo.
Just yesterday received my SIRUI 1.25x Ana adaptor and have tested so far on the Spherical
Super Zooms; FZ2500 and RX10 IV with very encouraging results from both as an affordable
and workable Anamorphic Zoom platform. (Some test footage available on my channel)
A few observations on issues you discuss in your excellent comparisons;
The Sirui line can always be "tuned down" for saturation/contrast/sharpness with simple Pro Mist
filters during shooting, and in post with a myriad of options. Better to have to start with than to try to fake it after the fact.
The multitude of squeeze factors from different manufacturers leads to a chaotic situation without any standardization.
Doing a multicam shoot is only possible with matched optics from the same brand. This babel of screen aspect ratios
only exists in indie online communities. In the real world of Pro Cinema production, the SMPTE (Society of Motion Picture and Television Engineers)
has established standards carrying over from analog film based acquisition.
The Panavision standard of 2.35:1 has been the standard anamorphic aspect ration for projection ever since the original Cinemascope of 2.66:1 was phased out.
To see so many different extremely wide aspect ratios produced by all the non standard squeeze factors is a niche personal taste.
Any rumors of future releases of 2X cylindrical optics, will only serve cameras which have the capability to shoot 4x3 open gate, which
the S5 does amongst many others. So 2X on 4x3 will bring us back to 2.66:1, much wider than the classical 2.35:1, I have to confess to being a purist.
LIKED 👍
Hey hey Sergei!
Thank you so much for checking out this video and commenting!
Congrats on the Sirui 35! I will hopefully be grabbing the Great Joy 35 here shortly. I will probably do some shots with it on my GH5 to get that 4:3 ratio to start, it'll probably look closer to a 50mm anamorphic I think.
I agree that I wish there wasn't all these weird squeeze ratios and just stick to 1.33x and 2x. I have a feeling with so many anamorphics coming in the next few years we will begin to see other companies offer open gate shooting modes on their cameras. Panasonic definitely was early in the game and probably it's thanks to them that we are seeing more anamorphic lenses coming out since the GH4 days.
Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Finally a comparison between these 2 lens! Thanks ! My choice is the Sirui Full Frame 1.6 series with a Lumix S1, (in 6 k Open Gate 3x2 24p). All the tests with the Sirui series "1.33" (for a GH5 Lumix) had convinced me and I was going to equip myself with the 1,33 series, when the 50mm Full Frame 1.6 version appeared. I have a doubt by noting the big difference in contrast on the Great Joy at 1'.54" compared to the Sirui, I think that on the short film, the Sirui had to be more protected from " flairs ", I rather see in This test of quite similar results, and that reassures me about my choice of Sirui! (Great Joy was not on sale last year) I fully agree with you, there is practically no difference in Bokeh Between 1.6 and 1.8, apart from a larger field on the Great Joy, but the 1,25 optical complement in Sirui arrives, and in certain plans, I think I will have the choice between compressions 1.6 or 2 according to the needs of the plan and the focal length, and even 1.25 with a spherical lens, I find this very interesting. (automatically translated French)
Hey hey Cinemapalace!
Merci beaucoup d'avoir regardé cette vidéo et d'avoir commenté !
Je suis ravie que cette vidéo vous ait plu et qu'elle ait confirmé votre opinion sur Sirui !
Leur approche 1,6x avec adaptateur 1,25 est très unique et je pense que ce sera une excellente configuration double pour votre Panasonic !
Merci encore d'être passé! Restez en sécurité, en bonne santé, et je vous verrai dans le prochain !
Thanks for this vid! I have the full Sirui set and the Great Joy with the 35 on the way. I got both sets in RF. Maybe I should have gotten PL- but I have used canon for over 10 years and don’t think I’ll switch. Plus when you save $300 on 3 lenses- it adds up and the RF goes straight on the R5c so easy with no adapter.
Sirui’s 1.25 adapter is…. Well I won’t be using it at all for a 2x squeeze and I wouldn’t consider it sharp.
So far the 35mm from great joy seems.. just okay. Doesn’t come with blue or amber and the bokeh is being reviewed as odd. Glad my 50mm is a blue, because the 35 will flare in a dark navy blue when it does. Feel bad for the amber 50mm owners.
The great joy 50mm has been..well great! Except it is a whole other step in post going through the entire project gaging each shot between 1.62 to 1.8 guessing the distance from the subject trying to get the squeeze just right. It’s not a horrible workflow, and it’s great to learn.
I genuinely believe with the lenses hitting the market I will only be working with these sets for a few years before other slightly better options are available. And I already know I won’t be able to sell the lenses for what I paid. Already the Sirui’s are all over eBay with the smell of buyers remorse.
Long message, sorry. I have loved your videos on the great joy.. I own the same cheap diopters and the relatable workflow and thought process is a joy to watch. Subbed.
Hey hey Henry!
Thank you so much for checking out this video and commenting!
Haha no worries on a long message, I'm always keen on reading all comments and see what people think. It does seem like the recent footage of the 35mm has a more busy bokeh. Though part of me feels that understandable because of how wide the lens is at a 1.8x psudo squeeze?
Sirui ended up announcing a upcoming Full Frame 1.5x consistant squeeze PL/EF anamorphic coming next year instead of a straight 2x lens. I'm not entirely sure if the 1.5x is going to be enough of an anamorphic look, its on the very cusp of it I would say. Not sure if they are continuing the adapter route for that series to get it to 2x. It'll be interesting to see what its like.
Other than that I do have a Great Joy 35mm coming and I look forward to playing with that lens.
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I agree, Due to the flares and contrast, the Sirui seems fitting for a sci-if/action film. Where as the Great Joy appeals to narrative less distracting look.
WHOA?! Ain't you the dude in this video?!!
It was interesting to finally take a look at the contrast and saturation differences side by side and just how much more color is coming from the Sirui. It woulda been very interesting it we shot that short film twice, one with the Sirui and one with the great joy just to see how different it would look in different scenes.
@@TLDR_filmmakermm
Sirui looks so sharp!
Hey hey Bro Tato!
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Super sharp!
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Just checking, but are the Great Joy anamorphics now called Blazar with a slightly different cosmetic look? Was there some kind of merger or were they bought out?
The Blazars do have a different look with some similar characteristics from the Great Joys. There was no merger. They just up and randomly decided one day to change their company name. They asked their follows on Facebook to vote on what name they thought was best.
@@TLDR_filmmaker When you say different look I'm assuming you just mean the outside look of the body, but the glass and footage they provide should look just the same as the original Great Joy's, correct?
I meant the optics will look different. The Great Joy's I felt are very clinical with their optic design and bokeh. Very straight to the point 1.8x squeeze look.
The Blazar Cato's (if I remember correctly" that I saw at NAB had much more unique characteristics, optically, like having a slight swirl in their bokeh while also being anamorphically stretched. It may be up to taste for some if they decide to go with those lenses.
I'd imagine most commercial shooters will want something like the Great Joy's look while narrative filmmakers may selected the Blazars if it fits their vision.
@@TLDR_filmmaker Thanks for the replies. I just have no idea what I bought then, since I just purchased the "Blazar Great Joy" (that's how they're listed, and there was no mention of "Cato") 35 and 50mm anamorphic lenses from B And H. Upon further research it seems like the Catos are a 2x squeeze, and the Blazar Great Joy's that I just purchased are still at just the 1.8x squeeze. So maybe (I'm assuming) I got the more clinical version?
Yes, I believe you have the more clinical versions. Their other anamorphic is a 1.5x (Remus?) and then yes the Cato 2.0x
Thanks for this great comparison!
I can only speak for the Sirui lens, and one thing I really love is that it does NOT flare like crazy. Take a look at my test shoot to see that I really needed to get the water reflections right into the lens to make them flare: ruclips.net/video/u4vRaQ6YMDw/видео.html
I also like the crispness and good contrast of the lens which can always be reduced in post if required for a more creamy look.
I know there have been massive flare issues reported with the first badges of the Sirui lens sold under the crowd funding campaign, but they got this fixed quickly. And, when shooting open gate the 1.6 squeeze factor results in the great 1:2.39 DCI Scope format.
Hey hey Joy of Filming!
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That's great to hear that the production batch seems to have tone down the flares! I so wish Sony gives us open gate mode instead of having to shoot raw grrr, its the one thing I do not like about Sony is that they refuse to put pro features in their DSLR cameras like Panasonic. I do miss Panasonic when not filming youtube videos.
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@@TLDR_filmmaker Hey, thanks a lot for your nice reply. All the best to you, too!
2x is way too wide, I prefer 1.33
Hey hey James!
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2x is definitely too much for the 16:9 most cameras shoot. Hopefully with more anamorphic's coming to the market more camera manufacturers would just let use shoot video with the 4:3 ratio mode or 1:1. While the 2x is wide on a 16:9, some filmmakers will still shoot with a 2x lens to then crop it down to Cinemascope or even 16:9 so that they retain the anamorphic characteristics. I talk a bit about this in my Great Joy review here: ruclips.net/video/ITXnYES2Q9o/видео.html
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I have been humming and hawing about getting the recent 35mm and 100mm, but with so much ongoing competition at the moment, I think I’ll wait it out. Btw, your bloopers at the end of the video - in my opinion, you shouldn’t hide that at the end. That should be part of your video. Call it out. Make fun of the situation. It makes the video less clinical and more personable because it’s not perfect. But that’s my two cents. Perhaps your audience loves the “just the clean information” approach. I’ve only seen two or three of your videos. But I think allowing that goofiness and joke-frustration to come through, perhaps in digital/post CUs or ECUs, it adds personality. Again, just my dumb two cents.
Hey hey GETJaby!
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I agree that its probably best to wait it out and see how other brands compete with each other. One winner will eventually come out and play. For the time being at this price point battle, I feel the Great Joy is the best interm choice. We'll see if other companies like Viltrox will compete in this price bracket. The bigger brand names will probably be competing the 5k-10k arena.
I generally don't ever leave bloopers unless I find it funny myself. It usually depends on the situations. So makes sense to have it in the moment and some make sense to put it at the end. These I felt needed to be at the end because of how long it took for them culminate instead of it being instant. If it was instant, I would have left it right in the middle of the review as it happened.
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Only did a quick glance at the comments but no one brought up that Great Joy looks squattier than Sirui. Look at the guy on the park bench comparison. Great Joy looks like a invisible hand on top of the frame is pushing the image down. Too much stretch.
Hey hey Cam!
Keep in mind that when I place the two together the 1.8x squeeze is also going to reveal more picture on the sides. While seeing the two shots next to each other it will create the illusion that the Great Joy is squattier when my body proportions are still the same.
We're in an interesting anamorphic lens space race. Sirui, Great Joy, and Laowa currently offering lenses, all with different characteristics and features within the same competitive price range. There's also the other lenses like the Viltrox mentioned but also some others like Huilens who are developing their own as well. Bigger companies are even starting to lean into making lower budget lenses like Atlas with their recently announced Mercury lens lineup, granted much more expensive at $6k per lens but hopefully this will be a continuing trend with other companies if it shows to be profitable enough. I also agree on the lens mount issue and thankfully Laowa thought ahead on this and made adapters for their mirrorless lenses and their PL/EF lens respectively. Hopefully other companies will either follow this example or what you suggested.
Hey hey Steakslim!
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It is definitely an interesting time and probably the only direction lenses can go for the next few years. There has been a lull in the filmmaker gear dept. and I think affordable anamorphic is the next battle ground. And then whoever wants to win the anamorphic race out of the gate... Autofocus in a budget anamorphic lens. Game over to whichever company want's to come in and drop the mic on everyone.
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Great Joy is the best option for now
Hey hey Mex!
Definitely a find option for sure. We shall see how sirui's FF 1.5x designs compare sometime this year.
Not sure EF is going to happen. Canon seems to be cutting back on which companies they allow to make EF lenses if any. Hence Viltrox pulling all their EF glass off the market.
I think you mean RF mount lenses. This only applies to autofocus lenses though.
Hey hey again Steven and Tim!
I believe Tim is correct that it only affects the RF mount. I haven't read too much into it why Canon is suddenly stopping 3rd party from making lenses in that mount.
I even think the EF patent already expired, that's why for example black magic can use the EF mount
Great content 🔝. Only thing missing to talk about 16:9 aspect ratio with this lenses
Hey hey Diego!
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If you mean when cropping into 16:9, I talk about that in my Great Joy review here: ruclips.net/video/ITXnYES2Q9o/видео.html
It does quite well. The Sirui would perform great as well with its sharper optics. Now I wish I had a 6k sensor so that I can have even more crop options!
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something that is worth menting is that the only sony camera with proper 1.8x anamophic support is the venice
Hey hey The Film Guy!
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That is definitely worth mentioning, I didn't know the Venice had that squeeze factor support!
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How well does anamorphic function with the many Sony cameras that don't have open gate? The A7S III, FX3, and the rest of their hyprid / photo lineup lack it. Believe only the FX6, FX9, and Venice have open gate.
Personally waiting until there are good quality, constant 2x squeeze on offer. Suspect there will be a few options in the coming months. Agree that PL + high quality adapter is the best move for the lens makers.
With the A7siii you get an ultra wide aspect ratio that you can either compose for, or decide to crop down to a 2:39.1 aspect ratio in post. As long as you have a monitor to desqueeze the image while shooting it’s works well.
Now that more companies are making these lenses, we only need camera companies to allow use to shoot with the full sensor.
Hey hey again Michael and Nate!
As Nate said, an external monitor will help with the filming of anamorphic lenses on a Sony. To a certain extend this would apply to Panasonic as well because of their small screens being squeezed down further, its hard to judge focus. Black Magic Pocket might be the only cameras that I'm aware of where filming in anamorphic out of the gate would be a nice experience with its large screen on the back.
In terms of the Sony A7Siii and FX3, you can achieve an open gate if you are filming externally to a Ninja V in Prores Raw. Now that I'm thinking of it I should do a quick test in photo mode to see just how much more pixels can I see in 4:3 vs 16:9 mode.
@@TLDR_filmmaker Have a Ninja V, but didn't know it could film open gate. Will have to give it at try.
@@NatesFilmTutorials Agree, we need full sensor open gate on more cameras.
Just make all sensors huge 1:1 and let us crop it how we need it.
Cok Sade Ve Içerıklerıyle Görsel Görsellerıyle Beraber Anlattın Gösterdın Aklımıza Yer Ettı Teşekkürler Harika
Bu videonun yardımcı olmasına çok sevindim UstadRize!
Sony doesn't really support anamorphic filmmaking at all. I agree I'd rather have a PL mount but if I had any interest in shooting anamorphic on FF prosumer cameras I'd be using L Mount cameras almost exclusively. Don't sleep on the Sigma fp either.
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That is literally the one thing that Sony should just give us and make us all happy, but of course they wont cause I swear these camera companies all have a meeting and draw straws on what feature they can have. Without a doubt Panasonic is the best camera for a filmmaker that is always behind the lens. For me because of my hybrid work between youtube and cinema, I need to have both.
I've thought about the Sigma FP with it's very attractive price tag. Just not sure if I want to jump into that yet over a used Panasonic S1 or S1H. Though I am really hoping to see a FF offering from Blackmagic that has the internal ND's from the 6k Pro. If there is one company that is not loyal to any other, it is blackmagic. They doing their own thing and I'm loving what they are doing!
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As a lover of ‘70s and (especially) ‘80s cinema, I’ve always loved the anamorphic look, and I only recently discovered this world of budget-friendly anamorphic lenses! 😄 I’m definitely looking at copping my first one soon, and this comparison is exactly what I needed. While the Sirui certainly looks amazing, I think I’m leaning toward the 50mm Great Joy. And if I like it, I’ll definitely be getting the others. I’m also a Canon guy and it seems like Canon gets no love in these discussions. 🤣🤣 But it’s all good. Looking forward to seeing how these lenses play with my C70. Thanks so much for your insightful video! Oh, and your expressions when something interrupts your shot are hilarious. I make the same faces when that happens to me. 😆 Thanks again. Cheers!
Hey hey Jay!
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Glad you enjoyed this video and my blooper expressions lol!
Great Joy just announced their 35mm and its up for order. If you are wanting to go with a great joy, try to get it during their indigogo launches so that you can get the 15% off the retail price. Yes even on 50mm release when you but it in a set.
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I live in China and often buy things direct from Sirui on Taobao. I will transcribe a conversation I had with them on Taobao a few months ago verbatim.
Me: Will Sirui make 2x anamorphic lenses for PL and EF mount?
Sirui: Technology is being updated step by step
Me: Hmm interesting answer
Sirui: Technology is being updated step by step (they said this twice)
Me: Kowa made 2x anamorphic lenses many years ago. I think Sirui can do it
Sirui: Please believe we can
Me: I will buy the lenses if you do it
Sirui: You can look forward to it
Me: Great!
Sirui: (sly winky face emoji)
Hey hey Robert!
Thank you so much for checking out this video and sharing your convo!
Its unfortunately Sirui didn't just outright started making EF and PL versions right away, I feel they would have made even more sales that way. If I was fortunate enough to create budget anamorphic optics to bring to the market that woulda been my first strategy along with the solid adaptors I mentioned.
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💚💜🤎🧡
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Glad you enjoyed the video! I'll keep doing my best!
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What if I use the Sirui 1.25X adapter on the Great Joy 1.8? Will it remain a constant squeeze and will the squeeze be a 2.25X? I need as much squeeze cause my sensor is 5:4.
Hey hey again Chinito!
If you used the Sirui adapter, it will remain a constant squeeze. I have no idea if the squeeze will be 2.25x as I'm not sure how the math works with stacking squeeze facto adapters. The only problem you may run into is that you will have a lot of vignetting with the adaptor. Sirui's 35mm and 50mm with the adaptor can only cover a S35 sensor instead of full frame.
I'm curious if anyone else has used the Sirui adaptor on their Great Joy lenses.
could you tell where does laowa 35 nanomorph stand in terms of sharpness, character, and importantly film look
Hey hey Codename Concord!
Thank you so much for checking out this video and asking a question!
Unfortunately I do not have any experience with the Laowa 35 nanomorphs yet so I can't really say for sure. If I remember correctly they were S35 anamoprhics instead of full frames, so that'll be something to consider depending on what camera systems you are looking to stay in.
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Thanks for the video, great work. I don't much like the idea of flares or anything else showing up in my shot unless I want them. I can add flares in post if I need them. I have used the Great Joy's and am blown away with the quality at this price point.
Hey hey Charlie!
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Definitely nice to have the option!
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Does low contrast really make sense for a lens though? I've always been under the impression that a lens cant really be "too punchy" because it's all about capturing light, it isn't artificially adding an effect, and the sensor itself is the real limit of dynamic range w/ detail captured, and then can be graded of course to be low contrast in post. Nobody has definitely addressed this topic on RUclips, itd be a really good one to test. To see if a low contrast lens can truly increase dynamic range without sacrificing detail.
Hey hey Jonnie!
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That is a good video idea. For me the idea of a less punchy lens means that the highlights bloom out a bit of the image and essentially fades the overall colors optically. I haven't tried to get the same look starting with a contrasty image as raising the shadows in post, my guess is that it won't quite look the same without the highlights falling into the image. But this does warrant some testing. I'll need to see which one of my vintage lenses fades the most.
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Did you had a chance to test the laowa anamorphics? Squeeze factor is not changing. All the Best.
Hey hey Tomn!
I unfortunately have not had a chance to test the Laowa anamorphics. I'd love to though!
Great review! Thank you.
You're most welcome Andrew!
Why do you say Panasonic is undoubtedly the best? You mean their cameras are the best or their options for anamorphic shooting?
Hey hey again Robert!
I meant that Panasonic is the best filmmakers camera because it gives you almost all the tools of a cine camera in a budget price (Waveform, vector, anamorphic etc). Aside from features the Panasonic cameras color science I feel is more pleasing. Their codec's are also compressed much better and is not too taxing on a computers CPU/GPU. If they would just fix their darn Autofocusing system they would have the winning camera, easily.
Hmm ok. I haven't had much experience with them but I know people love the GH line.
I came from a GH5 (that I still use) before moving to the Sony (For a more complete camera for my hybrid video needs). The GH5 camera still amazes me today with the videos I can get from such a small sensor and all the features inside. The GH6 is definitely nice for people behind the camera, but because I have to be in front of the camera half the time, I just can't count on the Panasonic AF for quicker youtuber setups.
Really helpful, thanks!
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So glad you enjoyed this video! I will continue to do my best with my content and reviews!
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I’ve never liked the flares on any of these types of lenses and anamorphots. They look horrible in my opinion. I’ll take my iscorama pre-36 any day!
Hey hey ANOMALIA!
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You're talking the cream of the crop there with this Iscorama flares! I hear what you're saying, the new anamorphic lens flares lack a certain grit to them that older anamorphic's elements had. At this moment in time in terms of budget anamorphic's i'd say the Great Joy is the most acceptable type of flare.
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@@TLDR_filmmaker after this I did see come really nice examples of the great joy flaring in really nice ways, so it’s definitely not bad at all. I remember the SLR magics looked pretty nasty, and I’m not keen on the sirui’s. Aviascooe I thought was very pleasing.
Thanks for the interesting vid!
They could just make 2x one wtf with those adapters
No one cares about open gate or how your camera sensor is 4:3 or 3:2 or 16:9 everyone will crop it for 21:9 and everyone will love it for good bokeh. Still waiting for 2x anamorphic which also does not suck at close distance squeeze nonsense. I mean and price up to 2.5 k
Hey hey Donbros!
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I generally agree that I wish lens makers would have just made a 2x from the start and forgo all these 1.33 and inbetweens. My guess is someone in Hollywood likes those inbetweens for whatever reason and so these companies went that route. All that being said I think the 1.6 to 1.8 is good enough to get the anamorphic feel assuming a consistent squeeze is there.
As for close distance, they will need to adopt a different optical design that I think would need more glass to be made into the lens. I think you're not too far off with a budget full frame design to be in the 2.5k area. Though I think 3k is probably the target for such a lens thats full frame. The trade off will be that it either remains a T2.9 or potentially drop down to a T4, thats how the budget companies will try to balance it out while the higher end companies will shoot for a lower T-stop. We shall see what happens in the next couple years, its going to be an interesting space for lenses.
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@@TLDR_filmmaker yeah if its good 3k is bearable just it has to solve those mrntioned optical issues. It can be heavier tbh no prob
I dont understand the massive fuss about getting great lens flares. Weve got so many options for compositing them in and they look great. I think id prefer a lens without them, because if theyre burned on film then thats it, you have no choice. always prefer post. Big fan of great joys lens and will probably go that route. thanks for the vid
Hey hey Teddy!
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I think with the flares it depends on the type people are looking for. I'm a fan of the older vintage anamorphic flares in terms of the types of streaks they produce. Not as much of a fan of the barrel flare you'd get with those older lenses. Post flares definitely is the most versatile way to go, but there's a lot of time involved on that end. Having done a lot of VFX after the fact and getting carpel tunnel, I'd rather not leave these creative decision in post and just make a decision in the beginning of production.
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@@TLDR_filmmaker you got it brother! lets make some cool stuff in 2023! the world is ours.
great
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Glad you enjoyed the video! I will continue to do my best with my content!
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