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.

Included with the lens is a hard transport case and 15mm rod lens supports. The SLR Magic's Anamorphot Cine 352XMFT 35mm lens is also available as a set, together with the 50mm T/2.8 and 70mm T/4 MFT lenses (also available individually). For PL mount users there is a similar range, which features an anamorphic squeeze of 1.33x. What is an anamorphic lens? The Sirui 50mm f/1.8 Anamorphic 1.33x Lens, with an MFT 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. 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 produces 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 MFT/APS-C camera. Sirui 50mm f/1.8 Anamorphic 1.33x Lens (MFT Mount)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. 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. 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 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.

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 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.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. 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. 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.