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Sirui 50mm 75mm T2.9 1.6x FF1.6X Full-Frame Anamorphic Lens RF/ E/ L/ Z Mount For Sony E / Nikon Z /Leica L / Canon RF

$1,404.95

SKU: 3256804488531307 Category:

Description

  • Brand Name: FORZAGO
  • Number of Diaphragm Blades: 0
  • Scene Type: Wedding,Insect,Architecture,Scenery,Still Life,Travel,People,Night Scene,Starry Sky
  • Launch Date: 2022
  • Type: Fixed Focus Lens
  • Focal Length: 75mm
  • Focus Type: Macro Lens
  • Origin: Mainland China
  • Full Frame: Yes
  • Focus Mode: Af, Mf
  • Lens Type: Automatic
  • Model Number: Sirui 75mm
  • Certification: CE
  • Use: Camera

RF Mount: For Canon/ RED KOMODO

E Mount: For SONY

L Mount: For Panasonic/ Leica/ Sigma

Z Mount: For Nikon

Lens Specifications

Lens no.

SITUI 75mm T2.9 1.6x Full-Frame Anamorphic Lens

Focus distance.

75mm

Maximum aperture.

T2.9

Min. aperture.

T16

Lens construction.

15 lenses in 13 groups

Number of aperture blades.

10

Maximum supported format.

Full-frame

Shooting distance.

2.8ft (0.85 m) – infinity

Focusing method.

Manual (MF)

Maximum magnification.

1:10.15 (V), 1:15.66 (H)

Filter specifications.

M82 x 0.75

Rotation angle of focusing ring.

95.5°

Maximum diameter (mm/inches).

88/3.46

Diameter of focusing ring (mm/inches):

88/3.46

Repeat (with front and rear caps) (g/lbs):

L-mount: 1365/3.01

RF mount: 1383/3.05

Length (without lens cap) (mm/inches):

L-mount: 153.5/6.02

RF mount: 154/6.06

75mm T2.9 1.6x Full-frame Variable Width Lens

75mm T2.9 Anamorphic FF1.6X

After the 50mm T2.9, the SIRUI 1.6x full-frame wide-format family is joined by the 75mm T2.9.

Widely used in wide-format images, this is an essential lens for long-range views and close-ups.

Small angle of view, shallow depth of field, no distortion and a particularly strong cinematic quality.

With the SIRUI Vari-Wide in hand, cinematography is a real surprise.

Golden focal length, for both near and far.

With a horizontal 1.6x stretch, the focal length is 46mm equivalent, covering common shooting scenes, while the vertical focal length of 75mm is maintained, allowing for both distant views and close-ups to be handled with ease. The small angle of view allows for more background material horizontally, making close-ups outstanding.

Wide ratio, high resolution

Two formats are randomly selected: 3:2 mode for a 2.4:1 cinematic ratio and 16:9 mode for a wider ratio of 2.8:1. The lens achieves a superb resolution of up to 8K in wide format!

3:2 shooting mode for 2.4:1 ratio reproduction

2.8:1 ratio reproduction in 16:9 shooting mode

Brushed backlighting for cinematic flair

Continuing the characteristic texture of the widening, the lens is horizontally backlit and brushed in front of a point source. The right amount of blues is natural and gentle, and the atmosphere is captured without overwhelming.

Phantom out-of-focus, creamy bokeh

The difference in imaging magnification between in-focus and out-of-focus with the variable width system gives the background a vertically stretched illusion of out-of-focus, with the spot tending towards an elliptical shape and an abstracted sense of disorientation. With the powerful bokeh function, the bokeh melts away like cream and the subject stands out, giving it a cinematic feel.

Unique perspective, spatial compression

The distant background is zoomed in as if it were a distant viewpoint, creating a sense of ”big near, big far” and emphasising the connection between the subject and the background, with a compact, full-bodied sense of spatial compression.

The same old, same old

Family design, all metal body, 82mm filter port, 1/4 tooth base. Aperture teeth and follow focus teeth are included, both at the same spacing as the kit lens, rejecting repetitive accessory adjustments.

Combined on to use

With the 50mm T2.9, inspiration is accurately expressed in the language of the image, and there are more options for the presentation of the subject or the background, adding to the creation of content.

Native mount, professionally equipped

With the latest iterations, full-frame microsensors with powerful video creation capabilities have become mainstream, and the four native mounts on the lenses – RF/L/E/Z – will greatly satisfy the creative community with a wide range of models.

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