New York, May 24, 2021 – SIRUI today launches its new 75mm f1.8 1.33x anamorphic lens, giving filmmakers the ability to make telephoto images with an anamorphic look – creating images where the subject really stands out in the frame. This new focal length offers the same characteristic stretched oval bokeh and streaked flares that SIRUI’s 1.33x lenses have become famous for. Its anamorphic look combined with the wide f1.8 maximum aperture, 13-blade iris, and 1.2m close focus distance offers beautifully blurred backgrounds and excellent foreground separation. The result – stunning portrait shots.
The 75mm f1.8 1.33x lens required the SIRUI optical team to overcome key technical problems with a brand new optical design. It took persistent efforts and considerable investment to make this lens possible.
Made for APS-C sensor cameras, it joins the existing SIRUI lens lineup of 24mm f2.8, 35m f1.8, and 50mm f1.8 1.33x lenses. All four lenses have common aesthetics and handling and together they form a set that filmmakers can use to tell complete cinematic stories, switching freely between scenes while maintaining common background rendering. Their stunning optical quality coupled with their small size means that they can be used professionally to shoot drama, commercial, weddings or documentary work.
The oval-shaped anamorphic elements of the 75mm f1.8 1.33x create a 33% increase in the horizontal field of view when compared to a regular spherical lens. This image is then desqueezed in post-production to achieve an anamorphic image with the correct aspect ratio.
Until now, options for affordable anamorphic shooting have been very limited. Traditional anamorphic cinema lenses have cost tens of thousands of dollars, while DIY anamorphic adapters based on optics designed for projection are bulky and have other limitations. Now filmmakers can own a complete four lens set of SIRUI anamorphic lenses for less than the price of a single anamorphic lens from some other manufacturers.
The lens is available in Sony E-mount, Micro Four-thirds mount, Nikon Z-mount, Fujifilm X-mount, and Canon EF-M mount. Solidly constructed of metal, it still weighs just 795g/1.75 lbs (in MFT mount) and is between 130.4mm and 134.1mm long depending on the mount chosen. It has a 67mm diameter filter thread and non-rotating lens front that allows for easy attachment of screw-on variable ND filters or polarizers. It has a long 186-degree focus throw for precision focusing.
Price and Availability
The SIRUI 75mm F1.8 1.33x Anamorphic Lens is available to pre-order from today on the Indiegogo crowdfunding platform at a Super Early Bird price of $669 US. Super Early Bird orders are estimated to ship in early June 2021.
SIRUI has successfully launched five crowdfunding campaigns on Indiegogo so far, with a total of almost 10,000 backers.
Use SIRUI lenses to truly enhance the artistic appeal of your footage and immerse your audience in an anamorphic world.
Customers can pre-order on Indiegogo here https://www.indiegogo.com/projects/sirui-75mm-anamorphic-lens-king-of-portrait/coming_soon
Then again I'm not really sold on the 1:33 squeeze.
Talk about bad business strategy.
I bet there are more than 7 who bought one converted to RF mount for C70/eos r in crop etc, never mind how many bought one in vanilla form for filming on BPCC 4k or a gh5 or whatever. How's that bad for business, they are not only tapping a huge niche but expanding it by tapping extra sales with adapter options with the kit and for those than can't be there is 3rd party business who mod them to other mounts like L and RF proving the demand is there. Sp they sell a lot of lenses AND avoid the issues with modified mounts and different out of spec in some modes coverage so perhaps they understand business better than us forumites who seem to not know much about a product do but bash these people heavily involved and do well do eh?
This thing will be very popular since the others in the series went extremely well and do better than most budget offerings like SLRM and Vazen in many regards at lower price, and size is a benefit when aimed at small mirrorless kits like panasonics and blackmagic pockets on smaller gimbals etc, and you can get aftermarket rings or add them yourself. This isn't aimed at people renting Cookes, at least not in work as I know some folks like that who WILL buy these for their home none work setups, any who have a small ef-m mount camera will likely buy that option (it'll swap to mft if they have bpcc's etc as comes with both fittings). Even pros doing weddings or low end video will likely use professionally since owning this kind of gearfor the price of renting Cooke or Arri masters for that kind of work.
Of course fanatics will always fight, but 90% of the market is people who do never publish on fashion magazines and there likes, neither print huge size (but possible with some work), but basically see their pictures on normal sized prints and monitors.
Why this competition, where there is none (for me), I enjoy the package of high quality pics, even professional with some effort, professional cost for some reason more and even make nice videos... not for Hollywood of course, but good quality for average big screens and monitors...
Will happily see more about this lens.
There are more than squeeze factors to the look, a big part is folks may want the horizontal compression benefits sphericals wont give, the streaking flares, bokeh artifacts and so on. There are issues with these lenses but they get close to the look of much more expensive setups for extremely low price. There are issues such as the squeeze is NOT uniform and changes at close focus which can make ana mumps much much worse if you apply a 1.33 desqueeze uniformly (it shifts to 1.25 iirc). Common for the type of lens design (several ways of makign an anamorphic each with different issues) but hard to get around it at small size and price as the designs that don't suffer from that flaw are much bigger and harder to design. Also for those who want the oval bokeh and so on it is very very mild vs a 2 factor lens.
Just adding black bars to spherical lens in 16:9 output gives a very different look if you have foreground and background planes as it changes framing and so on. Only way it can be made the same is in flat scenes with only background, or only foreground subject against blank background. Otherwise the effects fl distortion on close objects, depth compression and so on all alters the look and is impossible to match adding bars in post. Apologies if that is obvious since it applies in stills world too but I overlook things like that too at times. For stills example like someone may think why get close with 50mm vs standing back with an 85mm and frame the subject the same, because it's gonna effect both my background compression and fov and the subject look, as well as DoF at equal f-stop, add into the mix I can get best of both worlds mix from with fov of wider, vs spherical lens at same fl, with some of the qualities of the longer one horizontally and the appeal (of these lenses) makes sense more.
I bet S1H works the same way.
People have different needs and just because it isn't someones bag doesn't mean everyone else is wrong. I guess that is what bugs me about photo forums in general as seems we often fall into the trap of because it isn't our area = wrong. Like the endless canon are wrong because I'm not interested in it sentiments. Some folks really don't see the appeal of discrete cameras vs what a phone is capable of if the extra control and options such cameras bring to the table is irrelevant to them, doesn't mean everyone on here is wrong.