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.) In some scenarios, a little bit of vignetting might occur when using the lens while it’s attached with an adapter ring. 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. 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.

Compared to general camera lenses, the SIRUI 35mm F1.8 1.33x Anamorphic Lens can easily produce a cinematic widescreen look for users without post-cropping or using additional tools to highlight their creative shots. The MFT-mount 35mm f/1.8 Anamorphic 1.33x Lens from Sirui is designed for MFT/APS-C cameras and increases the horizontal FOV by 33% in comparison with traditional 35mm APS-C lenses. The result is equivalent to a wider 26.3mm APS-C lens. After de-squeezing, the captured image is displayed in an anamorphic 2.4:1 format in a 16:9 setting. This fast f/1.8 lens is designed with an aluminum housing and features optics with multilayer nano coatings. Made with renowned Schott optical glass lens elements, it produces rectangular aspect ratios, long horizontal lens flares, and oval bokeh. 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. At present, the two anamorphic lenses launched by SIRUI are mainly aimed at the huge mirrorless market, so they are also aimed at the mainstream mirrorless camera mounts, and there are currently no mounts for SLR or professional movie cameras. At its closest focusing distance, the squeeze factor of the lens becomes a bit distorted, and a full 1.33x de-squeeze will slightly elongate the image horizontally. In these cases, a 1.25x de-squeeze factor can be used instead.

It is surprising how often technology developed for one application finds use in another, for which it then becomes ubiquitous. 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. There are even anamorphic adapter lenses to use on the best camera phones, giving you an ultra-wide anamorphic look at a fraction of the price of cinema lenses. With a wide range of free video editing software also available, achieving that Hollywood-style cinematic look is cheaper than ever before. 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. Anamorphic lenses are sought-after by filmmakers due to their ability to capture a wider field of view given a specific image area height. Anamorphic lenses squeeze the frame from the sides, resulting in what appears to be a distorted image. However, it’s possible to stretch the image area to a wider aspect ratio when de-squeezed during post-processing. In the case of the Saturn lens, even though it’s designed for 3:2 aspect ratio full-frame image sensors, it can capture the field of view of a 2.4:1 or 2.8:1 aspect ratio while using the full height of the image sensor. 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.

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. SLR Magic's Anamorphot Cine 352XMFT T/2.4 lens is a35mm 2x anamorphic cine lens to fit MFT cameras which, when ‘desqueezed’, produces the full widescreen look with a real 2.66:1 aspect ratio. The lens has the widest aperture of T/2.4, features geared focus and aperture rings, a minimum focus distance of 1.1m, and 82mm front filter thread that allows you to screw in filters and dioptres to reduce the minimum focus distance. The front of the lens rotates as you focus, however, which may affect your choice of matte box. 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 lens weighs about 700g and has a length of about 117mm; 13 lens elements in 9 groups, 10 aperture blades; apertures from F1. 8 to F16. The aperture is a stepless; the focusing method is purely manual, the closest focusing distance is 0.85m to infinity, and the stroke is about 191.2°; the original M4/3 format of the system can basically cover the APS after adapting to the APS-C camera through the adapter. As an example, compared to a traditional 50mm APS-C lens, the Sirui 50mm f/1.8 1.33x Anamorphic lens produces a cinematic 2.4:1 widescreen video with a 33% increase of the horizontal field of view, effectively achieving a FOV equivalent to an APS-C 37.5mm lens.

Sirui 35mm f/1.8 1.33x Anamorphic Lens

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. This video includes sample footage shot using the Panasonic Lumix GH5, GH5s, and BGH1 in 4:3 anamorphic mode, and 16:9 and 17:9 aspect ratios to achieve different final looks.

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. 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) 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. And because the adapter will probably weigh as much as your lens, you will need some kind of lens support. 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. 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.The closest marked focus distance on the lens is 0.6m (2 ft), but users will find the anamorphic effect is somewhat diminished in images shot at this end of the scale. Applying the marked 1.33x de-squeeze to footage will leave your subjects perceptibly elongated. 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..

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. 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'. The 35mm Anamorphic Lens is solidly constructed with aircraft aluminum alloy and a precision CNC machining process.The original M4/ 3 mount of the lens, due to the 1.33 times stretching in the horizontal direction, the horizontal equivalent focal length is (35*2)/1.33=52.6mm. The vertical equivalent focal length remains unchanged, which is 35*2=70mm. Cropping will destroy the original composition, waste material on the top and bottom edges, and seriously lose image quality. After installing the SIRUI 35mm/F1.8 1.33X anamorphic lens, the sensor area can be better used, 33% more material in the horizontal direction, and 2.4:1 wide-format works can be output without cropping. 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. 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