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Vazen’s new 135mm T2.8 1.8x anamorphic lens completes their full-frame anamorphic trio

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Vazen has unveiled their new 135mm T2.8 1.8x anamorphic lens for full-frame cameras in EF and PL mount. This completes their 3-lens 1.8x full-frame anamorphic lineup adding to the Vazen 85mm T2.8 1.8x anamorphic full-frame lens announced in August 2020 and the Vazen 50mm T2.1 1.8x anamorphic full-frame lens announced last May.

As with Vazen’s previous full-frame 1.8x anamorphic lenses, this one’s not cheap, coming in at the same $8,000 price tag as the last two, although you can buy the complete set of three in a nice custom hard case for the bargain price of $19,999 (a $4,001 discount). If you’ve already bought some, though and end up getting the 135 to complete your set, the case is available separately for $300.

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Glass wants to make all smartphone lenses anamorphic – but probably not the way you think

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Glass, a new startup working on AI-enhanced imaging, wants to change how our smartphone cameras work to overcome the limitations of current smartphone cameras. They want to do it using larger, wider sensors and the same technology found anamorphic lenses in order to be able to do it. The problem, essentially, is that size matters. And smartphone cameras are running out of space to expand.

You can’t make the sensors larger without making the lenses larger (longer) and phones just aren’t that thick anymore. AI is great and has brought us a lot of advances in smartphone imaging technology over the last few years but that, too, only goes so far. Glass’ solution is to use the 100-year-old cinema technology to overcome some of those size limitations.

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Sirui announces full-frame 75mm T2.9 1.6x Anamorphic lens for RF, L, E and Z mounts

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Sirui has announced a new 75mm T2.9 full-frame 1.6x anamorphic lens for RF, L E and Z mounts. Naturally, they’re launching the lens via Indiegogo – because that’s what Sirui always does – where it’ll be available for an early bird price of $1,199 (20% off the full retail price). It adds to the Sirui 50mm T2.9 1.6x anamorphic lens announced last October, doubling the number of lenses in their full-frame anamorphic lineup.

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Samyang announces “Xeen Meister” line of T1.3 full-frame cine lenses and a 50mm T2.3 2x Anamorphic

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Samyang has today announced a new set of Xeen Meister cine lenses. The new collection is kicking off with three lenses at 35mm, 50mm and 85mm focal lengths, all with a maximum transmission of T1.3. Oh yes, these are some WIDE aperture lenses! As well as the three new T1.3 primes, there’s also a new Xeen Anamorphic 50mm T2.3 2x.

The Xeen name has been around for a while in the Samyang lineup, but Xeen Meister is the name Samyang is giving to their most premium of cine lenses. What is very new, though, is the anamorphic lens. Rumours have been around for a while now that Samyang was working on an anamorphic lens, but it’s taken a while to bring it to fruition. Well, now, Samyang’s first anamorphic lens, the Xeen Anamorphic 50mm T2.3 2x, is official.

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Sirui goes full-frame with a new 50mm T2.9 1.6x Anamorphic cinema lens

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Famous for their popular APS-C anamorphic lenses, Sirui has stepped out with a new full-frame 50mm T2.9 1.6x anamorphic lens providing a 2.8:1 aspect ratio. As per usual for Sirui lenses, the new 50mm T1.9 is being launched via Indiegogo. You’d think by now they’d be in a position now to just develop a lens, announce it and put it up for sale, but I guess not.

Going up to full-frame marks a nice upgrade for Sirui and with their prices, it puts them in a fantastic position for capturing the entry-level full-frame market. With more full-frame cine cameras (and video-focused mirrorless cameras) coming onto the market at lower prices these days, it makes a lot of sense for them to step up.

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Vazen expands its full-frame anamorphic lineup with the new $8,000 50mm T2.1 1.8x lens

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Chinese lens manufacturer Vazen has now officially announced their new 50mm T2.1 1.8x Anamorphic Lens. Designed to cover large sensors like those found in the likes of the Red Monstro, Alexa LF, Kinefinity Mavo LF and Z-Cam E2-F8, the new lens is full-frame. It’s part of a 3-lens set which includes the 85mm T2.8 announced a few months ago, and a yet-to-be-announced 135mm.

The new 50mm lens, Vazen says, features a “super compact and lightweight design”. Weighing in at 1.55kg, it doesn’t sound very lightweight for a lot of folks, but when you consider that it’s a full-frame anamorphic lens… Well, yes, it kind of is. Vazen says it’s one of the world’s smallest 1.8x anamorphic lenses for full-frame cameras, too.

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Laowa releases 1.33x Rear Anamorphic lens adapter and 1.4x Full Frame Expander

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Laowa has announced available for its new 1.33x Rear Anamorphic Adapter and 1.4x Full Frame Expander Adapter. Both the front and rear of each adapter features a PL mount, letting you add anamorphic capabilities to your PL mount lenses on your PL mount cameras, or expand the field of view of Super 35mm PL mount lenses to cover a full-frame sensor.

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Sirui launches $750 24mm f/2.8 1.33x anamorphic lens

Sirui has just added another member to its family of affordable anamorphic lenses. The Sirui 24mm f/2.8 1.33x is now out, and unlike many other anamorphic lenses, it won’t hurt your wallet too much. It’s currently available for $750, but you need to hurry up if you want to get it at this price.

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Anamorfake: achieve the anamorphic look with a $35 vintage lens

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The anamorphic look comes with a price, even if you buy an anamorphic lens that’s considered affordable. So if you’re on a tight budget, you can (anamor)fake it ‘til you make it. In this video, Mark Holtze will show you how to achieve the anamorphic look with a $35 vintage Helios lens.

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This is why anamorphic lenses have oval bokeh… It’s nothing to do with the aperture

After something of an at-home hiatus, John Hess at Filmmaker IQ is back and he’s dropped a doozy with his new video. Have you ever wondered why the bokeh in anamorphic lenses is oval-shaped? Have you ever wondered why it’s oriented in the wrong direction relative to the de-squeeze that anamorphic footage has to go through?

Well, it’s nothing to do with the aperture, as John explains in this video. Well, put into its simplest explanation, the reason is that you’re effectively shooting two different focal lengths simultaneously when you use an anamorphic lens. One for the horizontal field of view, and a different one for the vertical.

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