The market for professional cinema lenses has expanded, offering more options for PL mount shooters who crave the distinctive anamorphic look. This article highlights a top PL-mount option and several strong anamorphic choices across common mounts, so you can compare squeeze factors, autofocus, and flare characteristics. Each lens is evaluated for its cinema appeal, build quality, and usability on modern cameras. The aim is to help you choose a lens that delivers the classic wide aspect ratio, oval bokeh, and intelligent flare you expect from anamorphics, while fitting your camera system and workflow.
| Product | Brand | Mount |
|---|---|---|
| SIRUI 35mm Jupiter Macro T2 Full-Frame Cine Prime Lens | Sirui | PL Mount |
| SIRUI 40mm T1.8 1.33X Anamorphic Lens, S35 Autofocus | Sirui | Various (S35 Autofocus) |
| SIRUI 35mm T2.9 1.6X Full-Frame Anamorphic (RF Mount) | Sirui | RF Mount |
| SIRUI 35mm T2.9 1.6X Full-Frame Anamorphic (L Mount) | Sirui | L Mount |
| Freewell 1.55x Blue Anamorphic Lens (Smartphone) | FREEWELL | Smartphone (17mm) |
SIRUI 35mm Jupiter Macro T2 PL Mount Lens
SIRUI’s 35mm macro full-frame cine prime provides a PL mount option with close-focus performance, enabling macro work from a grain-of-sand distance to infinity. It delivers a centered, sharp image with graceful fall-off toward the edges, and a minimum focus distance of 0.24 meters (0.79 feet) for close-up subjects. Optical performance emphasizes sharpness, faithful color reproduction, and controlled distortion, with coatings to help reduce veiling glare for professional productions.
SIRUI 40mm T1.8 1.33X Anamorphic Lens, S35 Autofocus
This S35 anamorphic lens delivers a cinematic 2.35:1 aspect ratio using a 1.33x squeeze. It includes an accurate autofocus system with an advanced STM motor for fast, precise focusing, eye tracking, and subject tracking. The lens offers blue and neutral flare options to tailor the look of each shot, adding a dreamy or more neutral aesthetic to frames while preserving a cinematic edge.
SIRUI 35mm T2.9 1.6X Full-Frame Anamorphic (RF Mount)
This 1.6x squeeze, full-frame anamorphic lens supports RF mount and mirrors the cinematic feel associated with spheres-on-anamorphics. It provides a wide field of view and a 2.4:1 aspect ratio in appropriate sensor modes, with a 2.8:1 option in 16:9 mode. The design emphasizes an iconic anamorphic look, including characteristic flare and oval bokeh, while maintaining consistency with other full-frame SIRUI anamorphics.
SIRUI 35mm T2.9 1.6X Full-Frame Anamorphic (L Mount)
This L-mount version mirrors the RF-mount variant with a 1.6x squeeze factor and full-frame coverage. It targets cine-style production with an emphasis on the same wide-screen look, pronounced flares, and creamy oval bokeh. Compatibility across L-mount cameras makes it a flexible choice for hybrid shooters working with multiple bodies.
Freewell 1.55x Blue Anamorphic Lens for Smartphones
This smartphone adapter offers a 1.55x anamorphic squeeze to create a cinematic look on mobile devices. The lens includes a blue flare option and a level gauge for alignment, delivering a practical way to experiment with anamorphic aesthetics on compact rigs. It’s a versatile entry point for learning the look before investing in cinema-grade gear.
SIRUI 24mm Anamorphic Lens F2.8 1.33X S35 (X Mount)
In this 24mm S35 anamorphic, the horizontal FOV is squeezed 1.33x to produce a 2.4:1 aspect. A shorter focal length also lowers the minimum focus distance to 0.6 meters, enabling flexible framing in tight spaces. It delivers the caramel-toned halo, blue light streaks, and distinctive oval bokeh typical of anamorphic optics.
SIRUI 24mm Anamorphic Lens F2.8 1.33X (EF-M Mount)
This EF-M mount version brings 1.33x anamorphic squeeze to compact mirrorless bodies, maintaining the same cinematic 2.4:1 look. It shares the same benefits of the 24mm 1.33x family, including a wider horizon and the signature anamorphic artifacts. It’s well-suited for budget-friendly cinema experiments or mobile rigs requiring a light lens with strong cinematic potential.
Buying Guide: Key Considerations For Anamorphic Lenses
When choosing a pl mount anamorphic lens or evaluating alternatives, consider these factors to ensure you get the desired cinematic impact and compatible workflow:
- Mount compatibility: Confirm your camera’s mount (PL, RF, L, EF-M, etc.) and choose a lens that supports your system or offers adapters without compromising image quality.
- Squeeze factor: Common options include 1.33x and 1.6x. Higher squeeze yields more pronounced anamorphic projection but can introduce more distortion and require careful framing and focusing.
- Full-frame vs S35: Full-frame lenses cover larger sensors and deliver a wide field of view; S35 lenses are often lighter and more affordable while still giving strong anamorphic aesthetics.
- Autofocus performance: Some modern anamorphic lenses include autofocus; evaluate how well eye/subject tracking works in real-world shoots when you need speed and reliability.
- Flare control: Anamorphic lenses produce characteristic lens flares. Decide if you want blue, neutral, or subtle flares to shape your narrative style.
- Close focus distance: A shorter minimum focusing distance enables selective macro/close-up work; balance this with effective subject isolation and depth of field.
- Build and weight: Cine lenses are often heavier and more rugged. Ensure your rig supports the weight and balance for comfortable handling during long shoots.
- Budget and availability: PL mount options are typically premium. Compare second-hand market availability, serviceability, and future-proofing with newer mounts.
- Workflow considerations: Color science, lens shading, and post-processing compatibility can affect how you integrate anamorphic footage into your project.
Across these options, you gain access to a spectrum of cinematic looks—from macro-focused PL mount glass to wider, blue-flare anamorphics across multiple mounts. Consider starting with a PL mount option if your camera supports it, then experiment with 1.33x and 1.6x squeeze lenses to determine the ideal balance of field of view, distortion, and flare for your storytelling needs.