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. 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 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.

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.

Sirui 35mm f/1.8 1.33x Anamorphic Lens

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. Manually adjust the focusing and light settings with precision scale marks on the ultra-smooth, copper Focus and Aperture Rings. After much teasing, Sirui has finally launched its second anamorphic lens for interchangeable lens systems. The first was the 50mm F1.8 1.33x anamorphic that came out at the beginning of this year, and the company doesn’t seem to be wasting much time getting its second model out to the market.

The 35mm Anamorphic Lens is solidly constructed with aircraft aluminum alloy and a precision CNC machining process. 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. 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. 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.

Sirui 35mm f/1.8 Anamorphic 1.33x Lens (MFT Mount)

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

Although the SIRUI anamorphic lens is mainly used for video shooting, it still has the function of shooting wide-format high-resolution photos, which can meet the needs of users for film-like photos. In addition, SIRUI specially customizes the focus gear and aperture adjustment gear, and presents them as accessories to buyers, so that everyone can use them selectively. 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. With Sirui's special adapter ring, it can be adapted to Sony E, Canon EF-M, and Nikon Z-mount cameras. Since the APS-C format camera is converted, the horizontal equivalent focal length is (35*1.5)/1.33=39.4mm, and the vertical equivalent focal length remains unchanged, which is 35*1.5=52.5mm.

Sirui 50mm f/1.8 Anamorphic 1.33x Lens (MFT Mount)

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.

Made with renowned Schott optical glass lens elements, it produces rectangular aspect ratios, long horizontal lens flares, and oval bokeh. One of the exciting features of this lens is the close focus distance of just under 2′, allowing you to get close focus for creative effects. Focus scales marked in both feet and meters makes this well suited for users around the world, and the 72mm filter thread is a popular filter size for adding filters to your lens. Sirui 35mm f/1.8 Anamorphic 1.33x Lens (MFT Mount) 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. 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. 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

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. 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. 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. 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.