https://www.indiegogo.com/projects/sirui-35mm-anamorphic-lens/coming_soon

This might be a lot easier than using a vintage projection lens, but it lacks the character of a Kowa 16H / Kowa B&H / Isco. It looks spherical.

Visually, you'd get a lot more interesting look with a Helios plus fishing wire trick for flares.

PR

Sirui 1.33x anamorphic lenses come to RED Komodo and Canon C70 with MTF Services RF-mount conversion

Affordable 35mm f1.8 and 50mm f1.8 anamorphic lenses now available pre-converted to RF mount by UK lens specialists

MTF Services have released new RF-mount-converted versions of the popular Sirui 1.33x anamorphic lenses. Users of the RED Komodo and Canon C70 can now enjoy using the Sirui 35mm f1.8 and 50mm f1.8 anamorphic lenses to shoot stunning 2.4:1 cinemascope images.

Available from today, the bespoke converted lenses are based on the Micro 4/3 versions of the Sirui 50mm f1.8 and 35mm f1.8. Each lens retains its compact dimensions, allowing for easy handheld or gimbal operation. The conversion needs to be performed by MTF Services and requires precise mechanical modification of the lens to allow fitting of the new mount. The lenses are available pre-converted via authorised MTF Services dealers. The MTF Services RF mount converted Sirui 50mm f1.8 1.33x anamorphic lens on the Canon EOS R.

The Sirui anamorphic lenses are well known for creating a sought-after anamorphic look. The lenses have a 1.33x wider horizontal field-of-view, versus the vertical one. When the pictures are de-squeezed in post-production they turn from standard 16:9 or 17:9 ratio images into cinemascope letterbox ones. The result emulates the look often seen on big motion pictures, with horizontal blue streak highlights and bokeh with elongated defocused areas.

The RED Komodo sensor is fully covered by the image circle of both the Sirui 35mm and 50mm lenses converted by MTF Services. This means that full 6K resolution of the sensor can be used to create anamorphic images.

Canon RF mount camera users can also benefit. The new Canon C70 is fully covered and can create 4K 2.4:1 anamorphic images with the MTF Services converted Sirui lenses. The Canon EOS R 4K video mode is also fully covered.

With the newer Canon EOS R5 the lens image circles do not fully cover the full-frame sensor, but can still be used if the user is prepared to accept the vignette effect and crop the image in post-production (this requires the user to shoot in full-frame mode and then crop the image in post production to the equivalent of around 1.35x crop).

The RF-mount-converted Sirui 50mm f1.8 anamorphic costs £499 (plus tax) for the base lens, plus £150 (plus tax) for the conversion. The 35mm f1.8 anamorphic costs £637 (plus tax) for the base lens, plus £150 (plus tax) for the conversion.

The RF-mount-converted lenses join the existing L-mount-converted Sirui anamorphic lenses announced earlier this week. MTF Services also convert the widely used Fujinon MK 18-55 T2.9 and MK 50-135mm T2.9 Cine zoom lenses to both RF and L-mount, broadening the lens options available to users. Both lenses are available to order immediately from authorised MTF Services dealers or MTF Services website.

Can anybody prove me wrong? -> Shooting anamorphic and later de-squeezing is nothing more than resizing the image and losing quality regardless of how expensive the anamorphic lens/adapter is.

Creating pixels out of thin air

OK had to try this one. There's a lot of info online, and I don't have much to add except that it's decently sharp, that was a question mark looking at samples.
Unpacked the Sirui 35/1.8 this morning. After a half day of testing, it looks like a no brainer, especially if you own the Z Cam S6. Sharpness is perfectly fine, as is color and contrast. Maybe there is a touch of added color so be careful with the WB. Distortion is as expected, mostly correctable with the built in PP plugin. Or just leave it. Clickless, smooth aperture. There is some color fringing with backlit subjects.
I filmed the tests on the S6 in "open gate" to make full use of the 6K+ S35+ sensor. I was able to view the footy on my monitor desqueezed and also in the app.
I dropped the footy into PP into a standard 8K sequence. Yes, 8k from 6K open gate. Setting the image size to 93 percent, the image just touches the edges while leaving two narrow letterbox strips. Fine--you can add thicker black bars or zoom up to 102 percent to get 8K with no bars. It's all good. You can downsample, crop, whatever you want. Lots of choices.
My copy was shipped direct from the factory and I waited more than a month for it. Glass was perfect, exterior had a tiny scuff mark, no biggie.
You can manual focus very well at F1.8 and then I like to stop it down to F4, but it is certainly usuable wide open.
Clickless aperture and focus is very smooth and there are two rings included for gearing. No hood, which is cheesy for an $800 lens IMHO. :(
@theusualeditor re: thin air pixels--this lens allows me to film open gate on my Z Cam S6, so I'm not losing or cropping any pixels except some in the horizontal which unsqueezes a tiny bit wide. And, here, I'm not losing but cropping oversize. Ordinarily, a lot of these pixels would be unused, just like on most 4:3 or whatever cameras. So this lens get every drop of pixel juice out of the slightly oversized sensor.
So because of the open gate, it's like the extra resolution you get when you used film back in the olden days. And, in H265 I'm getting manageable file sizes.
But, beyond that, it looks cracking when you drop it into an 8K timeline.
(Yes, there are blue flares easy peasy.) P.S. It isn't light.