Wider Than Wider
This lens features a 1.6 times squeeze factor. When shoot in 3:2, it will yield a 2.4:1 aspect ratio. When the sensor is set at 16:9, you’ll end up with a much wider 2.8:1 aspect ratio, the viewing experience delivered by it is as premium and immersive as the IMAX format.
Shot on 3:2, desqueeze to 2.4:1 aspect ratio
Shot on 16:9, desqueeze to 2.8:1 aspect ratio
Frame as you Like
Whether to shoot grand scenes or tight shots, the images you get with this lens will be of superior quality, high resolution and good sharpness. Being a full-frame lens means it can shoot wider than its APS-C equivalents, leaving you plenty of room for pan-and-scan or punching in the post. For example, if part of an image is redundant, just crop it out without worrying about pixel loss.
What You Get is What You See
As the third eye of shooters, 50mm focal length has an angle of view that is very close to human eyes. Featuring a 1.6 times squeeze factor, this 50mm lens can deliver a horizontal angle of view we did expect from a 31mm regular lens and the super organic background blur, which help render your storytelling much more nuanced and engaging.
Beautiful Oval Bokeh
This lens, with a squeeze factor of 1.6 times, produces oval bokeh in a more pleasing shape than those lenses with 1.33 times squeeze, giving the footage extra expressiveness and aesthetics.
Vibrant Lens Flares
Pointing a light source directly into this lens to get that signature blue lens flares anamorphic lenses are known for, adding a sprinkle of magic to your image.
A Maximum Aperture of T2.9
When shooting wide open at T2.9 with the focus concentrating on the subject, you’ll get a shallow depth of field image with the subject in focus and other areas out of focus. Using a wide aperture in low light conditions enables the camera to take in more light and achieves a faster shutter speed. Also, the aperture ring is engineered stepless to offer smooth iris control.
Cine Lens Housing
This lens looks super sleek as the whole barrel is built up of aluminum alloy. On top of that, the aperture and focus rings are both geared for a nice resistance and easy installation of follow-focus system. With a 1/4″ screw hole at the bottom, the lens can be mounted directly on the quick release plate to maintain the balance of the whole setup.
Match Perfectly with Full Frame Cameras
This model comes in native mount for RF, L, E, Z mount camera systems, compatible with such full frame cameras as Panasonic S1H, RED KOMODO, RED V-RAPTOR ST, Canon R5, C70, Sony FX3, Nikon Z6. As an inexpensive alternative to branded full frame anamorphic lenses, this lens is going to make anamorphics accessible to more people for more situation.
Canon RF, Leica L, Nikon Z, Sony E
Model : Sirui 50mm T2.9 1.6x Full Frame Anamorphic Lens
Focal length : 50mm
Maximum Aperture : T2.9
Minimum Aperture : T16
Lens Structure : 16 Elements in 13 Groups
Aperture Blades : 10
Maximum Support Frame : Full Frame
Shooting Distance : 2.5ft (0.75m)- ∞
Focus Method : Manual Focusing
Maximum Magnification : 1:12.83 (V), 1:20.42 (H)
Filter Spec : M82 X 0.75
Rotation Angle of the Focus Ring : 95.5°
Max. Diameter (mm/inches) : 88/3.46
Diameter of the Focus Ring (mm/inches) : 88/3.46
L Mount : 1048.6/2.31
E Mount : 1030.6/2.27
R Mount : 1073.6/2.37
Z Mount : 1073.6/2.37
Total Length (Lens Cap Not Included) :
L Mount : 140/5.51
E Mount : 141.3/5.56
R Mount : 140/5.51
Z Mount : 142.9/5.63