If you don't have a focus motor, it's easy enough to set focus or aperture by hand. I used the lens with the DJI Focus Motor and RS 3 Pro gimbal for much of my review and appreciated the option to drive focus from the handle. Geared control for focus and aperture match up with follow focus systems. Sirui puts a tripod socket at the center of the barrel, so you can attach it directly to a support system. The big lens isn't unmanageable to use handheld, and if you pair it with a camera with a stabilized sensor you can get good handheld video-or use it for cinematic aspect photos. It also offers 1.33x Mars series for Micro Four Thirds and APS-C (Super35mm) systems. ![]() The company has recently introduced a smaller, carbon-fiber-barrel Saturn 35mm Anamorphic for $1,299, also with full-frame support and a 1.6x squeeze factor. Sirui uses similar design language for the other lenses in the Venus series. Its barrel is black anodized aluminum with a blue accent ring. It measures 5.6 by 3.5 inches (HD), feels dense at 2.3 pounds, and supports 82mm front filters. The 50mm T2.9 is hefty for a prime made for photos, but not out of spec for a cinema lens. When you use the lens with 3:2 video it creates a 2.4:1 look after a de-squeeze. We received a sample in L-mount for review and paired it with the Panasonic S5 II, one of the few full-frame cameras on the market with support for open gate 3:2 recording. Sirui markets the 50mm and others in the series for the most popular full-frame camera systems: Canon RF, L-Mount Alliance, Nikon Z, and Sony E. You can opt for the 35mm if you're after a broader view for landscapes and interiors, and swap to a longer focal length for a tighter angle with readily obtainable background blur. ![]() The other lenses in the series come in at 35mm, 75mm, 100mm, and 135mm focal lengths. Its 50mm focal length realizes a wide-standard angle on full-frame systems. The 50mm T2.9 1.6x Full-Frame Anamorphic is one of five primes in the company's Venus line. Sirui's line of $1,500 anamorphic lenses is a staggering value proposition, especially when compared with alternatives like the $20,000 Rokinon Xeen 50mm T2.3 Anamorphic and the name-brand Arri 50mm T1.9 at more than $40,000. ![]() Anamorphic processes endure, though many lenses carry cinema-grade prices. Today, televisions are wider and are far from our only content consumption device many of us consume content on our PCs, phones, and tablets. With correction, you get a scene that's wider than it is tall, with distinctive bokeh and flare characteristics. Without a corrective lens for projection (or digital correction techniques), the results make the world stretch like a funhouse mirror. ![]() Instead of capturing a scene without distortion, an anamorphic lens compresses a wide view into a squarish frame. The wide-screen look became the de facto standard for the popular biblical and historical epics of the time (including The Robe and The Bridge on the River Kwai), and it endures in pop culture hits ranging from Spielberg's Jaws to J.J. After all, why catch a glimpse of John Wayne at a Saturday matinee when you could stay at home and watch Gunsmoke? Wide-screen film formats were Hollywood's answer: Movies shot with anamorphic lenses offered much broader views that were unmatched by TVs. Hollywood eventually saw television as a threat.
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