SIRUI 50MMT2.9 1.6X ANAMORPHIC
OUTSIDE HELP It’s best to use an external monitor with a de-squeeze option when framing shots
SPECIFICATIONS Price: £1299/$1499 Mount: Sony E, Leica L, Canon RF, Nikon Z Aperture range: T2.9-16 Optical construction: 16 elements in 13 groups Image stabilisation: No Focus: Manual Focus rotation: 95.5° Horizontal squeeze: 1.6x Coverage: Full-frame Aperture blades: Ten Close focus: 750mm/29.5in Filter size: 82mm Dimensions (wxh): 88x141.3mm/3.5x5.6in Weight: 1030g/2.3lb
“With the sensor at 16:9 you end upwith a 2.8:1 aspect ratio” unless you are being super-picky, it’s not a big issue. Sirui’s choice of a 1.6x squeeze factor is unusual: most anamorphics are 1.5x or 1.8x. When shooting in 3:2 – if your camera is one of the rare ones that can, such as the Panasonic S1H set to open gate mode – it will yield a perfect 2.4:1 aspect ratio. When the sensor is at a more typical 16:9, like the Sony A1 and A7S III we tested the lens on, you end up with a much wider 2.8:1 aspect ratio – this delivers the horizontal angle of view of a normal 31mm lens. Film historians will say anything different to the original 1953 standard of 2.55:1 is not true anamorphic. But, today, anything from 2.35:1 upwards to 2.55:1 is deemed to be Cinemascope. So, the 2.8:1 is actually a bit too wide and narrow. It’s best to crop to something like 2.4:1 or 2.66:1, but at least you have the real estate to do it with a full-frame sensor. Monitoring is also an issue. Even cameras that offer internal anamorphic de-squeeze have 1.5x and 1.8x options, not 1.6x. You need an external monitor, ideally with customisable de-squeeze options.
THE VERDICT For the price, nothing comes near this Sirui. It’s sharp, easy to use, has controlled flare and neutral colours. Anamorphic effects are subtle – a positive when making stylish films. You don’t just focus on fancy flares or oval bokeh. If you own a Panasonic S1H and want high-res, full-frame anamorphic action, it’s a perfect pairing. It’s also great for other full-frame mirrorless, especially with built-in IS, if more of a faff in post – a small price to pay for a real-deal Cinemascope optic. groups, better coatings and a genuine professional quality, optically. The 1.6x factor means that oval highlights are definitely more pronounced. Horizontal flare streaks are more of a teal colour than blue, and actually more controlled. You get larger blocks of flare, though, and typically green flare blobs when provoked. When we tested the old APS-C 50mm 1.33x Sirui version, we found optical quality was good – with some vignetting, but decent sharpness across the frame. Colours and contrast were decent, too. But on that older model, the horizontal blue flares could sometimes stop before the end of the frame. As it’s just a 1.33x lens, out-of-focus highlights are only slightly ovalised. This new Sirui is vastly improved, and very sharp right across the frame. It has more lenses in more
HOW IT RATES Features: 8 Fullymanual with no AF or IBIS Performance: 8 Sharp, but has breathing issues Handling: 9 Not too heavy, with smooth control rings Value formoney: 9 Amazing value as a full-frame anamorphic lens PROMOVIEMAKER OVERALL RATING: 9/10 Genuine Cinemascope-style footage fromyourmirrorless cam Pros: Affordable full-frame anamorphic Cons: No AF or IS These give the impression of a higher-quality lens, rather than an optic that goes out of its way to show off its streaky anamorphic signature. It’s a far more polished performance, for an assured, quietly subdued look. That increase in optical quality is matched by improved build. The lens is solidly made from aluminium alloy, and the clickless aperture and focus rings are both geared for follow focus use, offering a smooth, controlled feel. A small bracket with a 1/4in-20 screw hole at the bottom means the lens can be mounted to a quick-release plate or support rig. It feels and performs like a real professional lens.
SIR-IOUSLY GOOD The Sirui is a well-built lens that offers great anamorphic quality for full-frame cameras
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