BUYERS’ GUIDE
7. SIRUI
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Anamorphic lenses are the holy grail for filmmakers, due to the amazingly different and very cinematic look they give – one you can’t get by simply cropping a wide- angle shot to Cinemascope format. From the oval bokeh to the blue horizontal flares loved by sci-fi cinematographers, these non-spherical lenses are special. But the price has often been totally out of reach. Sirui has a series of anamorphic lenses that don’t break the bank, yet give all the characteristics of these beloved optics. For just £3495/$3999, you can buy the Sirui Mars set of 24, 35, 50 and 75mm lenses in a case, to fit Micro Four Thirds cameras like the Panasonic Lumix GH5. With a 1.33x ratio, these lenses take full advantage of the 16x9 sensor crop for video, to produce a 2.4:1 aspect ratio synonymous with the cinema look. An anamorphic element squeezes the horizontal axis of the shot by 1.33x, allowing for more information to fit on the sensor. This is stretched back out in post-production. For monitoring, this is done in-camera for certain models, or an external monitor that offers de-squeeze.
The lenses reproduce flares beautifully, while the coatings prevent this from obscuring the entire frame. The fast aperture of T2 to T2.9 creates a shallow depth-of-field, increasing the oval- shaped bokeh effect. Sirui also offers 24, 35, 50 and 75mm lenses in L, E , FZ, Micro Four Thirds or RF mounts. But that means these cameras must be used in no bigger than Super 35 mode, as the image circle of the lens isn’t big enough. They also give a 1.33x ratio for a 2.4:1 aspect ratio in 16x9. Compared to a standard 50mm lens, for example, the Sirui 50mm enlarges the horizontal field of view up to 33%, to achieve the equivalent of an APS-C 37.5mm lens. A full set starts at £3070/$3396, depending on the mount. Sirui is venturing into the full-frame anamorphic market with the Venus 50mm T2.9 1.6x lens, which costs £1299/$1499. This features a 1.6x squeeze factor – when shooting in 3:2, it will yield a 2.4:1 aspect ratio. If the sensor is set to a more typical 16:9, you'll end up with a much wider 2.8:1 aspect ratio.
Being a full-frame lens means it can shoot wider than APS-C equivalents, leaving room for panning or punching in post-production. Thanks to 1.6x squeeze, this 50mm lens can deliver the horizontal angle of view you’d get from a conventional 31mm spherical lens. The lens barrel is made of rugged aluminium alloy, the aperture and focus rings are both geared for tactile resistance and easy installation of the follow-focus system. With a 1/4in screw hole at the bottom, the lens can be mounted on the quick-release plate to maintain balance. The Venus comes in native mount for RF, L, E and Z mount camera systems, and is more affordable than other full-frame anamorphic lenses. “Sirui has a series of anamorphic lenses that don’t break the bank”
ANAMORPHIC FOR THE PEOPLE From the new full-frame 50mm lens (top), to the Mars line-up for Micro Four Thirds sensors (above right) and the Super 35 range like this 35mm optic (above), Sirui has your non-spherical needs covered
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