Anamorphic Lenses

This 24mm f/2.8 Anamorphic 1.33x Lens from Sirui, in a Sony E 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 a Sony E 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.

• covers MFT/super35 sensors
• Available Mounts: Canon EF-M / FUJI X / MFT / Nikon Z / Sony E

The Sirui 50mm f/1.8 Anamorphic 1.33x Lens, with an X-mount, is designed for APS-C cameras and increases the horizontal FOV by 33% in comparison with traditional 50mm APS-C lenses.

The result is equivalent to a wider, 37.5mm APS-C lens. After a de-squeeze, 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.

It has renowned Schott optical glass lens elements and delivers rectangular aspect ratios, long horizontal lens flares, and oval bokeh.

• covers super35 sensors
• Available Mounts: Sony E / MFT / FUJI X

We must say that this new SIRUI 50mm T2.9 1.6x anamorphic lens lives up to our expectations. Despite the drawbacks and the ”sometimes too aggressive” look, it is an incredibly capable glass for its price. 

It is a great entry-level to the world of anamorphic filming. The ease of use is fantastic, the size and weight are perfect also for handheld filming and the price is right. Hopefully, future lens generations would emphasize the “organic anamorphic look” with greater squeeze factors and more controlled flares.

SIRUI has proven to be a reliable manufacturer who brings some solid products to the market – and in time!

The SIRUI 75mm Full-Frame Anamorphic lens is no exception. With similar optical quality as their 50mm full-frame anamorphic lens, many will find it a good addition to their existing “on the budget” anamorphic set.

The first and most obvious target is independent filmmakers. The Super Early Bird price of $999 per piece, or $2,999 for the 3-lens set, is quite appealing. And especially if you’re just starting out with anamorphic, this can be a good place to start. The lenses are easy to carry around wherever you go, and having them on you all the time gives you a lot of freedom to experiment.

However, we also think there’s a place for the Saturn lenses on slightly larger productions. Even if they might not have the strong character it takes to become the main lens choice for a DP on a high-end commercial, they can still be mixed and matched with other lenses for specific shots – especially when mounting a full-sized 50mm or 75mm full-frame anamorphic lens would just be impossible.

At the heart of Atlas Lens Co. Orion Series is a true Front Anamorphic Group.

Orion Series lenses deliver the striking beauty of painterly waterfall bokeh, disproportionate breathing, and signature but controlled flare. These optical characteristics are now available as part of your cinematic storytelling toolkit with a mechanical functionality that won't leave you feeling confounded by compromise.

Orion Series Anamorphic Lenses are built to be a universal filmmaking tool - ready for the latest Digital Cinema PL mount cameras like Arri Alexa or Red DSMC2, Canon Mount Cinema Cameras like the C300, or adapted Sony E Mount or Micro 4/3 cameras, and are even designed to accommodate the rotating mirror shutter of 35mm Motion Picture Film Cameras following Arri PL Flange requirements.

At the heart of Atlas Lens Co. Orion Series is a true Front Anamorphic Group.

Orion Series lenses deliver the striking beauty of painterly waterfall bokeh, disproportionate breathing, and signature but controlled flare. These optical characteristics are now available as part of your cinematic storytelling toolkit with a mechanical functionality that won't leave you feeling confounded by compromise.

Orion Series Anamorphic Lenses are built to be a universal filmmaking tool - ready for the latest Digital Cinema PL mount cameras like ARRI Alexa or Red DSMC2, Canon Mount Cinema Cameras like the C300, or adapted Sony E Mount or Micro 4/3 cameras, and are even designed to accommodate the rotating mirror shutter of 35mm Motion Picture Film Cameras following ARRI PL Flange requirements.

All of the anamorphic lens characteristics demanded by filmmakers today with the Cooke Look® and oval bokeh.

That’s the Cooke Anamorphic /i Look. Images beautifully rendered for film and especially suited for use with digital cameras. The Anamorphic /i lens correct aberrations exceptionally well over the entire image area – astigmatism, lateral and longitudinal colour – that will render shape, form and soul to your images.

The Anamorphic /i lenses offer superb optical and mechanical performance. Distortion, veiling glare, flares, and all aberrations are controlled at all apertures over the whole field of view.

The 35mm Master Anamorphic Prime Lens is a wider lens in a set from ARRI/Zeiss featuring low distortion and a fast T1.9 aperture for achieving shallow depth of field.

This anamorphic prime offers the skin tones and color rendition for which Zeiss is noted, and color-matches other ARRI/Zeiss primes and ARRI/Fujinon zoom lenses. Its 15-blade iris produces cinematic-looking, oval bokeh with distinct focus fall-off.

There is minimal breathing when focusing and no "fat face/anamorphic mumps" effect on your talent. With there being no visible drop-off at the corner of your images, the full 2.39-format image is usable.

• covers super35 sensors
• Available Mounts: ARRI PL
• Available focal lengths: 28mm / 35mm / 40mm / 50mm / 60mm / 100mm / 135mm (all T1.9)

Who are these lenses actually for? Considering the squeeze ratio, they’re not aimed at rental houses, as far as I’m concerned. 

What about end users then? Well, the price for such a cinema lens is very aggressive but on the other hand, taking into consideration that it has a 1.33x anamorphic squeeze only, the question still remains: for this price, is this the anamorphic look you are after?

What we're trying to say is, that it is a bit of a catch-22 with these lenses. The image quality is very appealing, and you can see that A LOT of thought went into designing them, but on the other hand, they are still costly and the squeeze ratio won’t satisfy many. 

So when it comes to getting these lenses, it can be a tough decision and this is why we can only recommend trying them out and seeing if they work for you before committing.

The 85mm T2 1.8x Full-Frame Anamorphic Lens from Vazen creates enhanced anamorphic flares and a dramatic cine-style aspect ratio for your footage.

This lens features user-interchangeable PL and Canon EF mounts, providing compatibility with an array of full-frame cameras like open-gate ARRI models and the RED MONSTRO 8K. Lens features include enhanced blue flares, a soft, oval bokeh, and other aberrations.

This sharp 85mm prime provides a 1.8x anamorphic squeeze and an ultrawide 50° horizontal field of view. The lens creates a cinematic 2:39:1 aspect ratio with 4:3 sensors and compared to a 2x lens, creates less framing to crop out when used with 16:9 sensors.

• covers "larger than full-frame" sensors
• Available Mounts: ARRI PL / Canon EF (included)

This 40mm T2 1.8x Anamorphic Lens from Vazen provides enhanced anamorphic flares and a dramatic cinematic aspect ratio to your scenes for cameras with an MFT mount.

This 40mm prime lens offers enhanced blue flares, a soft, oval bokeh, and other aberrations. The 40mm prime provides a 1.8x anamorphic squeeze and covers Micro Four Thirds image sensor formats. The lens creates a cinematic 2:39:1 aspect ratio when used on cameras such as the Panasonic GH5, the Z CAM E2, or the Blackmagic Design Pocket Cinema Camera 4K.

• covers MFT sensors
• Available Mounts: MFT / Canon RF
• Available focal lengths: 28mm T2.2 / 40mm T2 / 65mm T2