It doesn’t come in PL mount and doesn’t cover full-frame sensors, just APS-C. There isn’t a ‘set’ of lenses in different focal lengths, all matched for colour accuracy like those brands have. Of course, it was never going to be as sharp as a 50 grand Arri Master, 30-odd grand Cooke, or a ‘budget’ anamorphic like an Atlas Orion at a meagre five large. But we have tested one, and can confirm it really does: the super-widescreen Cinemascope-style footage, bright blue horizontal flare streaks and ovalised bokeh, just like a lens costing significantly more.įor the price, it’s stunning and reall does open up the world of real super-widescreen shooting to the masses, with no fuss. Surely it can’t be of decent quality or produce the real cinematic look for that sort of money, many argued. A crowdfunding campaign to get it into production quickly raised over £1 million, and now the lens is in production for a meagre £660/$821. So when Sirui announced it was going to make a real 50mm f/1.8 anamorphic lens to fit Sony E, MFT and Fujifilm X Mounts for less than half of even the cheapest rivals, the world took notice. Even anamorphic adapters, which sometimes require two different focusing mechanisms and can be very fiddly, can cost almost as much. There are more affordable options coming on to the market, such as those from Atlas, Vazen or SLR Magic, but these are still in the thousands. A 50mm f/1.9 Arri Master Anamorphic costs 50 grand, for example. The unmistakable cinematic look of a true anamorphic lens has always remained well out of the grasp of independent filmmakers, and that’s partly what makes it so desirableĮven renting a real anamorphic is hideously expensive, and of course buying one is in the realms of fantasy for all but the Hollywood elite.
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