Perspective | academy
Sirui’s serious Cinemascope style
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1. Squeeze me Straight out of camera, the images are squeezed by
1.33x and appear unrealistic (right). Adding a simple de-squeeze in post gives the full widescreen effect and normalises the subjects
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Triple treat This set of three Sirui lenses bring Cinemascope shooting to those who love autofocus
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2. Flare enough Trademark horizontal flares are natural in colour, but a blue flare version lens is available. Out- of-focus highlights are oval, rather than round
the most dramatic anamorphic effect available, but does deliver an authentic 2.4:1 widescreen look. More importantly, the STM autofocus system performs remarkably well. Eye detection and AI- assisted subject tracking work seamlessly with compatible cameras, which makes anamorphic shooting far more accessible. While autofocus performance doesn’t quite match the speed of native first- party autofocus lenses, it is surprisingly effective considering the lenses’ robust all-metal construction and full manual control capabilities. When used manually, the generous 136° focus throw provides precise control and tactile feedback. One size fits all All three lenses share the same physical design, echoing the consistency expected of professional cinema lenses. Constructed from aluminium alloy, they feature geared focus and aperture rings, clickless iris control, an AF ∕ MF switch, customisable function button and iris lock. The 50mm weighs just 620g and measures 131mm long in Sony E-mount, making the range super compact given the complex optical design. Each lens covers a 44mm image
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3. Bokeh bliss With a fast T1.8
aperture and 13 iris blades, the bokeh is smooth. A longer focal length helps with compression, as seen on this 100mm shot
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4. A shift in perspective The beauty of anamorphics
is that you get a wide-angle view while using a lens of a longer focal
length, which compresses perspective
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