I am a retired "Hollywood" feature film camera operator and DP of over 30 years, having done many anamorphic shows over those years with Panavision gear/lenses. I never dreamed I could have fun in retirement shooting like I did on the features, but I decided to take the dive into prosumer digital cinema when I saw the potential of a full frame mirrorless camera that can shoot "open gate" (true full frame sensor which has the same dimensions as the VistaVision frame) with 1.6x anamorphic lenses to render 2.39 AR. I thought "we'll see if these anamorphic lenses are any good."I started with the Saturn 50mm and 75mm, and was shocked at how good they are, as well as small and light. I learned from Sirui that they currently have no plans to expand the Saturn line to longer focal length lenses. So, after seeing a glowing review on the 150mm Venus 1.6x for full frame on YouTube, I decided to check it and the 100mm out.These are "big" and hefty lenses, more like the physical form of a number of the Panavision anamorphics, but they are physically gorgeous and clearly very well made. Both the Saturns and these two Venus lenses are incredibly sharp; perhaps my biggest surprise. I tested them by sending the HDMI output of the camera to a 65" monitor/TV. I have no doubt that these lenses will cut together beautifully with the Saturns. My filmmaking will be primarily exterior, and this range of 50, 75, 100, and 150 will serve well (but wishing for a 300mm).Much hubbub is made of anamorphics flaring and many enthusiasts pursue that optical artifact as an optical virtue. If needed to make a style point in a narrative, that's one thing. To use it without motivation only serves self-indulgence, but that's up to you. They can work in contemporary and science fiction narratives, but ever see an anamorphic flare in a classic western that was shot anamorphic? Nope. Try to find one in Dances With Wolves. There were definitely plenty of open practical fires that could easily have triggered anamorphic flares, but DP Dean Semler knew that would be totally out of place and distracting, and prevented them.We put significant effort into protecting the lenses from light on every show so that the lenses deliver their nominal contrast and to prevent unwanted flares...unless the director specifically wants to see flares. How did we do that? The photos show how we do that, and can also be done in the prosumer world. It is of no consequence that the Saturns are neutral color flares, and the Venus lenses are blue flare lenses, as I mitigate flares anyway. They will also retain all their wonderful inherent contrast.By the way, that is the Tilta MB-T12 matte box...which has the top brow and, amazingly, snap-on hard masks (a lightweight version of what we use on the Panavision matte box).Highly recommended lenses if you plan to shoot anamorphic. Cheers.

This is a copy of the review I did on the Surui Venus 150mm. The monitor screen shot is done with the 100mm.I am a retired "Hollywood" feature film camera operator and DP of over 30 years, having done many anamorphic shows over those years with Panavision gear/lenses. I never dreamed I could have fun in retirement shooting like I did on the features, but I decided to take the dive into prosumer digital cinema when I saw the potential of a full frame mirrorless camera that can shoot "open gate" (true full frame sensor which has the same dimensions as the VistaVision frame) with 1.6x anamorphic lenses to render 2.39 AR. I thought, we'll see if these anamorphic lenses are any good.I started with the Saturn 50mm and 75mm, and was shocked at how good they are, as well as small and light. I learned from Sirui that they currently have no plans to expand the Saturn line to longer focal length lenses. So, after seeing a glowing review on the 150mm Venus 1.6x for full frame on YouTube, I decided to check it and the 100mm out.These are "big" and hefty lenses, more like the physical form of a number of the Panavision anamorphics, but they are physically gorgeous and clearly very well made. Both the Saturns and these two Venus lenses are incredibly sharp; perhaps my biggest surprise. I tested them by sending the HDMI output of the camera to a 65" monitor/TV. I have no doubt that these lenses will cut together beautifully with the Saturns. My filmmaking will be primarily exterior, and this range of 50, 75, 100, and 150 will serve well (but wishing for a 300mm).Much hubbub is made of anamorphics flaring and many enthusiasts pursue that optical artifact as an optical virtue. If needed to make a style point in a narrative, that's one thing. To use it without motivation only serves self-indulgence, but that's up to you. They can work in contemporary and science fiction narratives, but ever see an anamorphic flare in a classic western that was shot anamorphic? Nope. Try to find one in Dances With Wolves. There were definitely plenty of open practical fires that could easily have triggered anamorphic flares, but DP Dean Semler knew that would be totally out of place and distracting, and prevented them.We put significant effort into protecting the lenses from light on every show so that the lenses deliver their nominal contrast and to prevent unwanted flares...unless the director specifically wants to see flares. How do we do that? The photos show how it's done and can also be done in the prosumer world. It is of no consequence that the Saturns are neutral color flares, and the Venus lenses are blue flare lenses, as I mitigate flares anyway. They will also retain all their wonderful inherent contrast and the subtle yet unique feel that anamorphic cinematography can deliver.By the way, the matte box is the Tilta MB-T12 matte box which as the top brow and, amazingly, snap-on hard masks (light weight versions of the ones we use on the Panavision matte box).Highly recommended lenses if you plan to shoot anamorphic. Cheers.

Lens is very sharp, solid structure and it is very heavy., need lensSupport , the focusing ring is short than the 1.33x lens but that is what I need

Was shipped a used, open box lens. I ordered a brand new lens. Box seal was already broken. Lens did not come in a sealed plastic bag. Scuff marks on the lens mount. Now I have to waste time returning this. Horrible quality control prior to shipping.

Habe schon lange mit einem Sirui Anamorphoten für meine Lumix S1H geliebäugelt. Als Sirui dann das 50mm T.9 für Vollformat angekündigt hat, hieß es geduldig warten, bis es verfügbar war. Bis dahin sehnsüchtig YouTube-Videos zu diesem und anderen Anamorphoten angesehen.Gestern kam es an, und bereits beim Auspacken hat es alle meine Erwartungen übertroffen:- "Built like a tank"- Butterweiche Fokus- und Blendenringe (letzterer etwas schwerer gegen versehentliches Verstellen)- sehr schön scharf bis in die Ecken- tolles Oberflächen-Finish- Völlig spielfreies Bajonett (bei mir L-Mount)- die zu Beginn des Crowd-Fundings als zu heftig genannten Flares habe ich nicht- 1.6 Squeeze scheint mir gelungen für die heutigen Wide-monitore und FernseherErste schnelle Testaufnahmen: Wow! Völlig neues Gefühl bereits beim Filmen und erst recht in Post.Das macht süchtig und ich freue mich jetzt schon auf viele schöne Drehs damit.Zu bedenken (gilt für alle Vollformat-Anamorphoten):- Suchtfaktor (das lässt einen nicht mehr los, ich habe es vor 2J mit dem Handy begonnen)- Solche Objektive sind richtig schwer - nix für Kamera am langen Arm mal so mitnehmen- Manuell fokussieren geht Handheld nur noch gut mit externem Monitor und Fokus-Peaking- Handheld damit filmen heißt üben, üben, üben (Fokus, ruhig halten, Naheinstellgrenze beachten)- evtl. Folgekosten: Stativ + Fluid-Head, 82mm Filter, Kamera-Rig, Follow Fokus, neuer Gimbal,...- Etwas Recherche, wie man in Post richtig (je nach Abspiel-Format) richtig stretchtAber wie gesagt: es macht süchtig und lässt einen nicht mehr los. Als Einstiegsdroge (falls überhaupt erforderlich) empfehle ich eine anamorphische Vorsatzline mit entsprechendem Lens-Case fürs Handy - die heutigen Handies bieten alle 4K und mehr, sind gut stabilisiert und erzeugen sogar 10 Bit Footage. Aber dann will man schnell mehr.Einzige Frage: warum kriegen sowas nicht deutsche Firmen hin? Naja, immerhin sind die Linsen aus Schott-Glas.Noch ein kleiner Nachtrag (soeben selber ausprobiert):ein sehr gutes Mittel, um die Kamera bzgl. Rollen sowie Auf-und-Ab zu stabilisieren, ohne gleich das große Stativ mitschleppen zu müssen, ist ein einfaches Monopod. Hat zudem den Vorteil, dass es immer noch ein wenig handheld aussieht und man beim Aufnehmen Entlastung für die Arme hat. Und ein Monopod kann man immer dabei haben.

Shipped quickly. Beautifully made. I can't say how this compares to anamorphics that cost 5-10X more, but it is perfect lens for regular people to have some fun. It not too overwhelmingly heavy nor expensive.