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This picture was captured by the Sirui 24mm anamorphic lens in 17:9 and de-squeezed 1.33x to provide a 2.35:1 side ratio.
Historically, devoted anamorphic lenses for interchangeable lens cameras have been costly, however Sirui has made a mission of making far more inexpensive choices. Although the corporate now has a full body 50mm anamorphic lens, the vast majority of its output to this point has been geared toward APS-C and Micro 4 Thirds system customers. The 24mm F2.8 is the third in its line of low-cost crop-sensor 1.33x anamorphic lenses.
This new 24mm F2.8 is meant to fill the wide-angle hole in Sirui’s vary of 1.33x anamorphic lenses for APS-C and MFT techniques, and in doing so creates a set that contains large, customary and mid-telephoto focal lengths. The set now consists of this 24mm f/2.8, a 35mm F1.8, a 50mm F1.8 and a 75mm f/1.8.
The 24mm F2.8 is the third in Sirui’s line of low-cost crop-sensor 1.33x anamorphic lenses
In fact, how a lot width this 24mm provides in observe is determined by the system it is matched with, because it’s designed for each APS-C/Tremendous 35 and Micro 4 Thirds sensors. In case you mount it in your Fujifilm X digital camera, you’ll benefit from the horizontal angle of view we’d anticipate from a 27mm lens on a full-frame digital camera – which is properly large certainly. Nevertheless, on a Micro 4 Thirds digital camera capturing in 16:9 mode, that view appears extra like what we would anticipate from a 36mm, which might solely be described as a reasonable wide-angle. In case you file in 17:9 with a Micro 4 Thirds sensor, that view expands to one thing like a 32mm, which may be nearly large sufficient to name ‘large’.
The lens is accessible in Sony E, Fujifilm X, Canon EF-M, Nikon Z and Micro 4 Thirds mounts, and prices $999/£899.
In case you are unfamiliar with anamorphic lenses, try our article, How Does Anamorphic Images Work?, which explains extra about how they function.
All-metal affair
As with the opposite lenses within the collection, the 24mm is an all-metal affair, together with the ribbing on the aperture and focusing rings. The ribbing is ok and shallow however nonetheless simply gripped, and it gives loads of buy even for gloved fingers. The main focus ring turns with a lot much less effort than is required to show the aperture ring, which is smart given what they management and the way we’ll use them. The 35mm lens got here with plastic 0.8 mod geared rings to suit over the main focus/aperture rings, however this mannequin does not. I am undecided why, nevertheless it’s a disgrace as included tailored rings have been a pleasant contact. Nevertheless, it is simple sufficient to suit adjustable ones.
The main focus throw of the lens is exactly 189.6°, in line with Sirui. This could really feel like a good distance when pulling from furthest to closest distances, however fortuitously, we not often want to do this. In additional common use, this enables correct management of focus whether or not you might be focusing by hand or with a hand/motorized follow-focus system.
On this video, I talk about the expertise of utilizing the Sirui 24mm F2.8 1.33x anamorphic lens on a Micro 4 Thirds digital camera.
The development makes use of 13 parts in 10 teams and relies round an everyday 24mm lens with an anamorphic unit mounted on the entrance. Mounting the anamorphic group on the entrance provides the (reasonable) oval bokeh that folks crave and larger susceptibility to flare and people magic blue traces.
That is definitely a lens that picks up some extent gentle supply and turns it right into a blue streak very simply, and followers of this stuff can be delighted. Past the blue streak, although, there’s a very good basic flare attribute that provides pleasing tender distinction and patches of evenly scattered illumination when there is a gentle simply out of body. It is a good look, but in addition one that may be managed and moderated to some extent with a hood or matte field.
Three within the set
Sirui’s quartet of anamorphic lenses: 35mm 1.8, 75mm F1.8, 24mm f/2.8 and 50mm F1.8.
As a lot as these lenses are a ‘set’, there are quite a lot of variations between them which will or might not be essential to you. Over time the lenses are rising bigger: the primary lens, the 50mm, is the smallest and the 24mm was the most important till the 75mm got here alongside. The 24mm is not an excessive amount of larger than the 35mm, which in flip is not a lot larger than the 50mm, however the 24mm is rather a lot larger than the 50mm.
Extra essential variations come within the type of most apertures and filter thread sizes, although, as the brand new lens is F2.8 as a substitute of following the F1.8 path, and the filter thread is 72mm somewhat than the 67mm of the opposite fashions. The lens weighs between 770g (1.70 lbs) and 810g (1.79 lbs) relying on the mount, with Micro 4 Thirds being the lighter and Nikon Z the heaviest.
Shut focus de-squeeze
The closest marked focus distance on the lens is 0.6m (2 ft), however customers will discover the anamorphic impact is considerably diminished in pictures shot at this finish of the size. Making use of the marked 1.33x de-squeeze to footage will go away your topics perceptibly elongated.
At its closest focusing distance, the squeeze issue of the lens turns into a bit distorted, and a full 1.33x de-squeeze will barely elongate the picture horizontally. In these circumstances, a 1.25x de-squeeze issue can be utilized as a substitute.
I observed this in use and used a easy, less-than-scientific check to find out that the 1.33x squeeze drops to about 1.25x on the closest focus distance. To find this, I photographed a 25cm x 25cm sq. of black Cinefoil and de-squeezed the picture till the Cinefoil regained its sq. form. At 1.33x, the sq. was rectangular with horizontal edges for much longer than its peak, however with a 1.25x de-squeeze it was far more even.
There is not a lot to be performed for topics approaching the 60cm minimal focus distance, however these at that distance and nearer will be rendered with the 1.33x issue when a 1+ diopter magnifier is hooked up to the entrance of the lens. With it hooked up, the infinity focus place happens at about 0.7m, and since the lens is at infinity, the squeeze issue is restored. With a +1 diopter fitted, I may focus as shut as 40.5cm, although the anamorphic issue drops off to 1.25x once more at that distance. A +0.5 diopter screw-in lens would even be useful, however they’re tougher to return by.
Out-of-focus highlights
Since it is a large lens with a smaller aperture and a reasonable anamorphic issue, the power to create dramatic oval-shaped bokeh is considerably diminished. Followers of a sea of coloured elliptical cat’s eyes must look elsewhere, as they’re laborious to muster with this lens. Even when centered on the closest distances with lights at infinity, and the aperture large open, there’s solely a way of squeezed circles. It is sufficient to create the environment of an anamorphic lens, however the look definitely does not shout anamorphic traits, and your viewers will not ever be distracted by them.
On the entire, although, out-of-focus areas are rendered somewhat properly, and the F2.8 aperture is simply large sufficient to permit us to create an honest diploma of selective focus even at this wider focal size. Maybe the 50mm F1.8 Sirui may swimsuit you higher if you need extra drama.
This video contains pattern footage shot utilizing the Panasonic Lumix GH5, GH5s, and BGH1 in 4:3 anamorphic mode, and 16:9 and 17:9 side ratios to realize completely different remaining appears.
I have been impressed with the lens’s sharpness and that it renders sufficient element even for a Excessive Decision shot on the Lumix G9. Once you look that intently, it is potential to identify a reasonable diploma of chromatic separation in particulars away from the middle of the lens, however the impact is not too unhealthy anyplace. At regular nonetheless photograph resolutions, I think most would not discover it in any respect, and it is even much less obvious in video.
No vignetting
The Sirui 24mm F2.8 1.33x anamorphic lens mounted on a Panasonic Lumix BGH1 field digital camera.
As has been the case with the earlier Sirui lenses, when you have been hoping for ‘cinematic’ vignetting, you may must learn the way so as to add it in publish, because the 24mm provides fairly even illumination proper throughout the body. That is excellent news for many, as including nook shading for environment is all the time simpler and preferable to eradicating it when it is not welcome.
Moderately even sharpness and an absence of vignetting do not draw the viewer into the middle of the body in the identical manner that some traditional lenses do. This additionally means we are able to have dramatically off-center topics with out shedding them because of technical errors or vintage-lens traits.
Conclusion
With its smaller aperture, decreased capability for selective focusing, and scaled-down oval highlights, it may be mentioned that the Sirui 24mm F2.8 1.33x anamorphic lens is considerably much less thrilling than the earlier two fashions within the vary. Nevertheless, for all its uninteresting technical correctness, it is nonetheless a really good lens to make use of and offers pleasing outcomes.
In case you can see past dramatic out-of-focus backgrounds and squashed highlights, there’s nonetheless loads of anamorphic attribute available, and I am fairly a fan of the tender distinction and propensity to render enticing flare earlier than the blue streaks seem.
To make it a extremely thrilling lens, it might want a most aperture of F1.8 like the opposite three, however that will have made it lots larger, heavier and costlier. Retaining the compact attribute and a few similarity in type and scale to the opposite lenses might be extra essential. Any larger, and this would not be a part of a set, and the thought of a extremely moveable, easy-to-use, low-cost lens would have been misplaced.
For extra data on this 24mm F2.8 1.33x anamorphic lens, see the Sirui lens web site.
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