When the image desqueezed, the bokeh behind the subject will stretch into an oval shape to create a dreamy filmic look to captivate the viewers. One of the features of this lens is that it produces horizontal blue streaks with less stray light, which Sirui calls sci-fi horizontal flares. A key aspect of anamorphic lenses is highlighted oval bokeh, and this lens achieves a shallow depth of field and oval bokeh with its 10 aperture blades. While the lens has a robust housing, it’s also designed to be lightweight for use with your compact APS-C camera. Sirui 75mm f/1.8 1.33x Anamorphic Lens (Micro Four Thirds)

The lens body is made of aluminum alloy material, and the key parts such as focusing are made of precision copper material. The lenses are made of German Schott glass with high-definition nano-coating. The front end of the lens is coated with a waterproof and anti-fouling film. The 35mm lens can attach to an M4/3 mirrorless camera and fit onto an APS-C mirrorless camera with a selection of E, EF-M, and Z lens mounts by attaching the optional adapter rings. As much as these lenses are a 'set', there are more than a few differences between them that may or may not be important to you. Over time the lenses are growing larger: the first lens, the 50mm, is the smallest and the 24mm was the largest until the 75mm came along. The 24mm isn't too much bigger than the 35mm, which in turn isn't so much bigger than the 50mm, but the 24mm is quite a lot bigger than the 50mm.I've been impressed with the lens's sharpness and that it renders enough detail even for a High Resolution shot on the Lumix G9. When you look that closely, it's possible to spot a moderate degree of chromatic separation in details away from the center of the lens, but the effect isn't too bad anywhere. At normal still photo resolutions, I suspect most wouldn't notice it at all, and it's even less apparent in video. No vignetting The horizontal equivalent angle of view of SIRUI 50mm anamorphic lens is 37.5mm, and that of view of 35mm anamorphic lens is 26.3mm. In contrast, the depth of field at the 50mm focal length is shallower, and the oval bokeh is more obvious; the framing field at the 35mm focal length is wider. Of course, how much width this 24mm offers in practice depends on the system it's matched with, as it's designed for both APS-C/Super 35 and Micro Four Thirds sensors. If you mount it on your Fujifilm X camera, you will enjoy the horizontal angle of view we might expect from a 27mm lens on a full-frame camera – which is nicely wide indeed. However, on a Micro Four Thirds camera shooting in 16:9 mode, that view looks more like what we'd expect from a 36mm, which can only be described as a moderate wide-angle. If you record in 17:9 with a Micro Four Thirds sensor, that view expands to something like a 32mm, which might be just about wide enough to call 'wide'.

When you are used to seeing the same 16: 9 photos, the photos taken by the anamorphic lens may bring you a unique movie look, and the 2.4: 1 wide format is closer to the perspective of the human eye, giving you an immersive feeling. With anamorphic lenses, you will often see a 'de-squeeze factor' next to the name – most often 1.33x, 1.8x, or 2x. This is because the lenses produce an image that's compressed in width and require it to be stretched in post to be properly displayed. The de-squeeze factor tells you how much the image is compressed. Some high-end cinema camera manufacturers such as Red feature in-camera anamorphic settings, allowing you to see a de-squeezed image on the screen as you shoot. What is an anamorphic lens? Put simply, an anamorphic lens changes the dimensions of an image in one axis; allowing for a wider field of view. Essentially, these lenses maximize the use of any sensor by fitting more footage onto it, resulting in a wider aspect ratio without degrading image quality. The 35mm Anamorphic Lens is solidly constructed with aircraft aluminum alloy and a precision CNC machining process. 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. 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.More important differences come in the form of maximum apertures and filter thread sizes, though, as the new lens is F2.8 instead of following the F1.8 path, and the filter thread is 72mm rather than the 67mm of the other models. The lens weighs between 770g (1.70 lbs) and 810g (1.79 lbs) depending on the mount, with Micro Four Thirds being the lighter and Nikon Z the heaviest. Close focus de-squeeze The screen ratio of most cameras is 16:9, and the SIRUI anamorphic lens is squeezed into the 16:9 screen by shooting at a 2.4:1 ratio, so it is necessary to enable the anti-squeeze mode on the camera body, and choose 2.4: 1 scale to view. If the camera does not have this option, you need an external monitor (such as ATOMOS) to select 2.4: 1 ratio or 1. 33x anamorphic ratio for viewing. As has been the case with the previous Sirui lenses, if you were hoping for 'cinematic' vignetting, you'll need to find out how to add it in post, as the 24mm offers pretty even illumination right across the frame. This is good news for most, as adding corner shading for atmosphere is always easier and preferable to removing it when it isn't welcome. Some cameras, like recent Panasonic mirrorless cameras, can even offer a de-squeezed preview when shooting, which makes it easier to compose scenes. Without such a feature, it can be challenging when working with an anamorphic lens, given that everything looks squished in the viewfinder. The 35mm lens can attach to a M4/3 mirroless camera and fit onto a APS-C mirrorless camera with a selection of E, EF-M, Z lens mounts by attaching the optional adapter rings. (*Switch to a APS-C format when used with a full frame camera.)

This 24mm f/2.8 Anamorphic 1.33x Lens from Sirui, in an MFT mount, brings a wide-angle feel to your anamorphic imagery, in addition to the extra width provided by the anamorphic process. Designed for MFT/APS-C cameras with an MFT mount, the lens increases the horizontal FOV by 33% compared with traditional 24mm APS-C lenses. After de-squeezing, the captured image is displayed in a 2.4:1 format in a 16:9 setting. Lightweight and portable, the f/2.8 lens is designed with an aluminum housing and features optics with multilayer nano coatings. This portable lens also excels at controlling chromatic dispersion to produce unique visual characteristics and provide sharp, high resolution images. 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. No longer do you need an anamorphic projection lens to correct the squeezed image; now this can all be done in post-production. The anamorphic extension lens installed in front of the lens on the market can adapt to more lenses, but it still faces the problems of needing secondary focusing, increasing the size of the device, and reducing the sharpness of the picture, and the price of the combination lens + lens is much higher than SIRUI anamorphic lenses. Therefore, an anamorphic lens with more convenient operation, higher cost performance and better quality will be a better choice. He is a Fellow of The Royal Society of Arts, holds a Foundation Degree in Equitation Science and is a Master of Arts in Publishing. He is member of Nikon NPS and has been a Nikon user since the film days using a Nikon F5 and saw the digital transition with Nikon's D series cameras and is still to this day the youngest member to be elected in to BEWA, The British Equestrian Writers' Association.The compact lens further optimizes focusing and aperture control systems using the two additional Gear Rings (0.8 Module). They’re attached to the built-in Focus and Aperture Rings, and they’re designed with a comfortable anti-slip teeth surface.. Capture cinematic widescreen images when using a cine camera with an MFT or APS-C sensor size with this 75mm f/1.8 1.33x Anamorphic Lens from Sirui. The lens features a Micro Four Thirds mount and captures a widescreen 1.33x anamorphic image squeeze with an ultra-wide 2:4:1 aspect ratio when used with an APS-C sensor size. This design gives you a 33% increase in the horizontal field of view for a beautiful cinematic widescreen look. This new 24mm F2.8 is intended to fill the wide-angle gap in Sirui's range of 1.33x anamorphic lenses for APS-C and MFT systems, and in doing so creates a set that comprises wide, standard and mid-telephoto focal lengths. The set now consists of this 24mm f/2.8, a 35mm F1.8, a 50mm F1.8 and a 75mm f/1.8. The 24mm F2.8 is the third in Sirui's line of low-cost crop-sensor 1.33x anamorphic lenses