[Music] Hi I'm Dustin Abbott today Craig and I Are going to give you a look at Something a little bit different and That is this sirai Saturn 35mm T2.9 this is an anamorphic lens with a 1.6 squeeze I'm going to let Craig take It away as he gives you an intro to this Unique lens This is the sir Saturn 35mm T2.9 anamorphic lens let's check it out Today uh to start things off so yes this Is a anamorphic 35 mm Fullframe lens and it comes in two Different options it comes in a neutral Flare option where your flares are going To kind of just be that basic white Light or it comes in a blue flare option Where your flares are going to be stre In blue now it has an aperture r of t2.9 To T16 all right for your technical talk Let's head over to Dustin all right thanks Craig so I'm Going to give you a quick breakdown of Some of the actual specs of the lens Itself some of the build and handling And then just some general observations In using it so our biggest Advantage When it comes to this particular lens is The fact that it really is very Compact And very lightweight so at only 103 mm In length or 4 in in and its weight is
Only 415 G or about 0.9 lb that makes even using it on a Drone a an actual option obviously You're going to have to have a high-end Drone to do that but the you know very Light weight and then size does open up Some extra creative opportunities with This lens part of that is that they have Used some real carbon fiber in the Barrel destruction to help to keep the Weight down now obviously with any kind Of cine lens you're going to get some Standardization when it comes to both The aperture ring and then the manual Focus ring both of which here on the Barrel are set up for gearing the weight On them it's nice and smooth there is The damping is what I would call on the Reasonably heavy side and that it does Take a bit of force but not so much you Couldn't do it with a gearing or drive System there's 120 degrees of focus Rotation and so to me it's it's not an Bad spot however some of you might Prefer a slightly longer Focus throw What I do like is the fact that you can Do longer Focus pools without just a Whole lot of rotation now as noted it is A t2.9 and so that corresponds roughly To an F2.8 uh aperture size measured by light Transmission here so obviously it's not Incredibly bright but you know bright Enough for mini shots and of course
That's another reason why the size in The the weight is relatively small the Aperture Iris has 10 aperture blades and As noted it does give you that cinematic Kind of oval shape to the bouqu in the Specular highlights now this is lens is Available in actually a wide variety of Different mounts now we've tested in the E-mount version for Sony but we've also Got the typical mounts like Canon RF We've got a Fuji X Mount we've got Leica L Mount we've got Nikon Z or Zed Mount There's also a unique DL mount for DJI Mounts which I've not actually tested Anything on that but if you do it exist There's also two different options when It comes to the flare signature for this So we've tested the neutral there's also The Blue Streak version and I'll come Back to that in just a moment now the 35mm focal length because of the Constant 1.6 squeeze actually gives a Horizontal uh point of view of a 22 mm Lens and so if we take a look at another 35 mm lens in this case I set up a Tripod did the same shot with the Sony 35mm f1.4 G Master lens and then I shot It with this lens and so you can see That it is incredibly wider in the Siri Saturn lens here and so definitely a Much wider angle of view now General Observations just in using the lens on The technical side I did note that even After d squeezing there is some
Pronounced pen cushion Distortion that You're going to particularly see on the Edges because this is such a wide Squeeze you don't see the Distortion so Much in the top and the bottom of the Frame you see it on the extreme wide Ends and so uh for example if you take a Look at the shot just of my living room I did not attempt to correct the actual Distortion I just Des squeezed it and You can see if you look at the edges of The frame there is an inward bulge now In the second shot I not only did the 1.6d squeeze but then I also did a Correction in Da Vinci resolve of the Pen cushion Distortion you can see that The lines look nice and clean now if you Are not accustomed to doing that Correction just so you know I dialed in A minus 0.08 to account for the pin cushion Distortion on the edges of the frame It's probably better to do that after You desqueeze it and so everything looks A little bit more natural when you do That now coming back to those flare Options for a moment the BL Blue Streak Uh flare is designed for a particular Look it is a very cinematic look you'll See it in a lot of of films but the Reason why I went for the neutral option Here is that while there are certain Situations where the you know the the Blue tent looks a little bit cooler for
Example in this shot of headlight Starting up you can see that the natural Flare isn't maybe quite as cinematic but I do find that the neutral flare is a Little bit more versatile in the Different kind of shots you can do Obviously your mile mileage may vary so If you're going to choose this lens Choose the option that best suits your Cinematic style now here is a sequence I Actually shot when I was alone because I Had covid a couple of months ago and so I shot a this little kind of sequence Just kind of testing out the lens and Playing with it and so what I found as a Part of testing the the lens and then Editing the footage is that the Sharpness is good but it's not Exceptional so if you're looking for the Sharpest lens out there I wouldn't say That this is the sharpest lens but what I did find is that the lens had a very Cinematic quality just in the overall Look of the footage that my conventional Nonsi lenses just aren't able to match And so I think that the overall look of The lens is great but it's not you know Top of the charts when it comes to Sharpness I also found the chromatic Aberration seem to be well controlled And you can see from some of these shots That fringing is really minimal and so That's certainly a a plus and I found That even when I was shooting with a
Window frame in the background and it's It's kind of shocking to me how often I See in in footage of you know of serious Shows or movies when I see chromatic Aberration in the fringes around window Frames and I I I never quite understand Why those are left uncorrected that's Not going to be an issue with this lens It could handle those kind of shots nice And clean then the final thing that I Want to comment on is that if you're Looking to do any kind of close-up shot This lens Has a very poor minimum Focus distance For what is a 22 mm equivalent focal Length at 0 9 M that's 90 CM you are Fair ways away from the camera to the Subject and obviously with a very wide Angle of view you're not going to be Able to get close at all so close-up Shots are not part of the reality of This lens so don't buy it with doing Those kind of shots in mind but my Conclusion was is that if you accept the Limitations of the lens lens and use it Around it it really does provide some Really great looking footage it was a Lens that I enjoyed playing with back to You Craig uh now this lens does offer a Unique 1.6 times squeeze factor and so Depending on the um video editing Software that you use there's different Ways to go about using that right cuz Looking at it uh on your you know
Viewfinder for examp example on your LCD Screen on your camera body uh it's going To look pretty messed up it's going to Look pretty messed up so I would Absolutely suggest I would strongly Suggest Using a uh additional kind of attachment Screen a screen that's going to be able To a field monitor that's going to be Able to desqueeze the image now uh some Of these shots here that you see you can Get away with without having a field Monitor on you and that's what I did Here for these uh landscape shots and You can get away with it cuz you just Close down the aperture right and you Set the focus to about where it's going To be and and you can get away with it Now you will notice some of these um Some of these pieces of footage do have A softer Focus to them because you know I did kind of Miss I didn't have the Field monitor on me um I definitely Don't suggest going around with this Lens without a field Monitor and just You know looking at the the non-s Squeezed image on your uh LCD screen on Your camera body and trying to find Focus cuz for example it's not really Achievable even if you put focus peing On it it's not going to work for example This footage of the statue here right um Peeking I'm not using a field monitor I'm just using the camera that's it uh
Peing said that that statue was in focus When clearly it is not all right so you Need a field monitor you can't hack it You can't go about in a cheap way and Think you're going to find focus and Even with a field monitor uh setting This shot up for example it it is a Little bit tricky it is a little bit Tricky but what you can do for example Uh this review is on the Sony e-mount Sony camera bodies come with an option To zoom in to check Focus so go ahead Use that you may have to hit you know Menu go into the different settings go Into AF MF menu and then go into there And you know blow it up check your focus Make sure about it all right and you Know whenever you get Focus uh Appropriately made this looks good um There is this trend going around on YouTube of how to make everything look Cinematic right there's a bunch of uh Color gradient tutorials how to make Your footage look cinematic well hey if You want to make your footage look Cinematic get an anamorphic lens right All this space out here that's pretty Crazy this is 35 mm and we we see my arm Spread out you know you can see the Whole entire back wall this this is Cinematic all right it's cool now the 1.6 times squeeze Factor how do you edit That because if you're going to bring That into your video editing platform
And use it it's going to look really Really weird all right so I'm a d Vinci Resolve user here's what you do in D Vinci resolve you bring first of all Your media into the media pool and you Can select all of the clips here that You want to desqueeze all right so You're going to write right click on the Clip uh select clip attributes you're Going to head down to this little Subheader and you're going to put in a Custom ratio Da Vinci resolve doesn't Have a 1.6 times uh squeeze Factor as 1.5 so gets really close but all you Have to do is just go to custom set it To 1.6 and all of your footage will now Look appropriate now of course you don't Necessarily have to sck uh stick to this Kind of ratio right you can you can blow It up you can do whatever you want all Right the world is yours so go ahead and Do what you would like it was a really Pleasant experience in using this lens Now something I also want to knowe is That it does have a constant 1.6 times Squeeze Factor so that as you pull your Focus um the subject size doesn't change Too much as you pull your focus so this Lens is you know it's a cinematic lens You get that nice wide cinematic Anamorphic look you get the oval bokeh You get the light streaks going on uh From the light sources in the background It's got all the features you would want
For your next cinematic production plus It is extremely short just uh measuring In at 4 in very light carbon fiber Construction um really what this comes Down to is it comes at a price point of Right now it's on sale for $1,100 so does this lens have the Characteristics that you're looking for For your next produ ction uh that is a Decision only you can make I certainly Enjoyed using this lens uh and if you Purchase it then I hope you do as well That is it for today I hope you take Care purchasing links are down below Take care have a great day and remember To let the light [Music] In
