Savvy Picks: Modern Anamorphic Lenses for Your MFT Camera



Anamorphic lenses are awesome for creating a cinematic look.

They capture a wider view than traditional spherical lenses, creating beautiful oval bokeh and cool horizontal flares.

Today, you can get modern anamorphic lenses that are easy to use and come with everything packed into one body.

Here are five top choices.

1. Vazen 40 mm T/2 1.8x Anamorphic Lens for MFT Cameras

Here’s the Vazen 40mm T2 1.8x Anamorphic on a Panasonic GH5 by CD Media.

The Vazen 40 mm T/2 lens is the first anamorphic prime lens with a 1.8x squeeze factor for micro four-thirds cameras.

The image is then stretched 1.8x times to achieve the 2.39:1 widescreen aspect ratio. The 1.8x squeeze offers a wider view of some more affordable 1.33x options.

The lens uses T-stops, with a maximum opening of T/2 and a minimum opening of T/16. This is comparable to a photography lens with an aperture range of f/1.8 to f/16.

T-stops are commonly used on cinema lenses, as they offer a more accurate measurement of light. So, if you use other cinema lenses, you may prefer an anamorphic lens with T-stops due to its consistency.

The lens has a focal length of 40 mm, and the minimum focus distance is 2.7’/0.82. The front diameter is 95mm, which makes it usable with standard matte box designs.

The smooth, manually focused lens has a focus throw of 300°, and the focus rings are built for 0.8mod cine gears (32 Pitch).

You may notice slight distortion when shooting close-ups due to the shallower depth of field. However, you also get a natural-looking perspective. And the bokeh and flares are beautiful.


  • 1.8x Anamorphic squeeze
  • Beautiful bokeh and crisp, sharp center image
  • Durable, high-quality components and glass optics


  • Pricey
  • Bulky (not gimbal or run-and-gun friendly – see the Vazen 28mm below instead)

2. Vazen 28 mm T/2.2 1.8x Anamorphic Lens

Here’s a video by videographer Benjamin Filmmaker that shows footage with the Vazen 28mm on a DJI Ronin S gimbal.

The Vazen 28 mm anamorphic lens is the second lens in this category released by Vazen.

Due to the smaller focal length, the 28 mm lens weighs less. It weighs just 1.59 pounds, making it less cumbersome when mounted on a lightweight MFT camera. It’s a compact lens that works well on a gimbal.

The Vazen 28 mm lens has a wider field of view than the 40mm, offering the same 1.8x squeeze factor.

The 28 mm focal length is ideal for close-ups and shooting in cramped spaces. The minimum focus distance is 2.7’/0.82m.

The maximum T-stop of T/2.2 (and the minimum is T/16) is slightly smaller than the T/2 opening found on the 40 mm Vazen lens.

The quality of the lens matches the quality of other Vazen lenses. You receive a carefully constructed lens that should offer many years of use with proper care.

Even though the 28mm is smaller, it is still manually focused with a focus throw of 300°, and the independent aperture and focus rings are built with 0.8mod cine gears (32 Pitch).

The front filter thread diameter is 77mm, making it easy to find and use, for example, a variable-ND filter for the lens.

This lens’s front diameter is 80mm, different from the 95mm of Vazen 40mm and 65mm lenses. This is something to remember if you purchase these three lenses as a kit and use a matte box.


  • A high-quality lens with great clarity and sharpness
  • The 28 mm focal length is useful for smaller spaces
  • Compact, light-weight, and gimbal-friendly


  • Pricey

3. Vazen 65 mm T/2 1.8x Anamorphic Lens for MFT Cameras

Vazen released the 65 mm lens to complete its lineup of anamorphic lenses for MFT cameras. It includes the same sophisticated design and craftsmanship as the other Vazen lenses.

As with the 40mm Vazen lens, the 65 mm lens also has a 95 mm front diameter. This allows you to use standard matte boxes with Vazen lenses. The filter thread is 86mm, which can be stepped up to 95mm with a step-up ring.

This lens is also manually focused with a focus throw of 300°, and the independent aperture and focus rings are built with 0.8mod cine gears (32 Pitch).

While the 28 mm Vazen lens is useful for smaller spaces, the 65 mm lens is better suited for filming distant objects (the minimum focus distance is 3.6′/1.09 m).

Test of the Vazen 65mm anamorphic lens by Anamorphobia TV.

The focal length is comparable to a telephoto lens. You get a more compressed image and can isolate subjects from the background.

The larger focal length also increases the size and weight of the lens. It weighs just under four pounds, making it relatively heavy. Use this lens with a camera mounted on a tripod for best results.


  • It provides greater resolution compared to 1.33x anamorphic lenses
  • Minimum focus breathing
  • Useful for telephoto shots and filming distant objects


  • Not the most budget-friendly camera lens
  • Bulky

4. SIRUI 50 mm f/1.8 Anamorphic 1.33x Lens

The SIRUI 50 mm f/1.8 lens is a relatively affordable anamorphic lens compared to the costly Vazen lenses. This is a budget-friendly option for an anamorphic prime lens with an MFT mount.

Unlike the Vazen lenses, the SIRUI lenses use a 1.33x squeeze factor. The 1.33x squeeze provides slightly less vertical resolution, as it does not squeeze the horizontal plane as far.

Here’s a review by Cam Browne of the SIRUI 50mm anamorphic on a BMPCC 4K.

The SIRUI lenses also use f-stops to measure the aperture opening, the same measurement unit found on standard photography cameras.

While this will make it easier to set the aperture if you are used to working with photography lenses, f-stops lack consistency when shooting the same scene from multiple cameras.

Like the Vazen, the SIRUI 50mm features 0.8 gears MODs (32 pitch) for focus and aperture, but the focus throw is only 143.6 degrees. In other words, you don’t get as smooth and precise focusing as with the Vazens.

The filter thread is 67mm, so if you primarily have 77mm or 82mm filters, you must use step-up rings.


  • More affordable compared to Vazen lenses
  • Adapters are available for mounting on APS-C cameras
  • The 50 mm focal length provides versatility


  • Offers less vertical resolution compared to Vazen lenses
  • Lack of lighting consistency when using other cinema lenses with T-stops

5. SIRUI 35 mm f/1.8 Anamorphic 1.33x Lens

The SIRUI 35 mm compact anamorphic lens works well for run-and-gun videography and gimbal work.

With an aspect ratio of 2.39:1, you get a wide, cinematic field of view. However, the SIRUI lenses require you to use the 16:9 mode on your MFT camera, as they use a squeeze factor of 1.33x instead of 1.8x.

Here’s a beautiful video by L’oeil d’Eos shot with the Sirui 35mm anamorphic lens on a Panasonic GH5.

The decreased squeeze factor reduces vertical resolution compared to the Vazen anamorphic 1.8x lenses.

It features 0.8 gears MODs (32 pitch) for focus and aperture like the Vazen, but the focus throw is only 191.2 degrees. In other words, you don’t get as smooth and precise focusing as with the Vazens.

Like the SIRUI 50mm, the 35 mm filter thread is also 67mm, so if you primarily have 77mm or 82mm filters, you need step-up rings.

However, this tradeoff is worth it because this lens offers a lot of bang for the buck. The SIRUI 35 mm lens is one of MFT camera’s most affordable anamorphic prime lenses.


  • One of the most affordable choices
  • The 35 mm focal length offers a wider field of view
  • The lens is lightweight and less cumbersome


  • No T-stops for setting the aperture to match other cinema lenses
  • It provides slightly less vertical resolution compared to 1.8x lenses.

How to Choose the Right Anamorphic Lens for MFT

Anamorphic lenses cover a niche market in the videography industry, limiting your selection of lenses. This is especially true when shopping for micro 4/3 (MFT) camera lenses.

Various manufacturers also produce anamorphic prime lenses for full-frame and APS-C cameras. However, only a few companies make modern anamorphic lenses for the MFT-mount.

You can go the vintage route, which I touched upon briefly in the introduction, which opens up a whole new range of possibilities and worries.

Vintage anamorphic lenses can easily be a more expensive path to follow than getting a modern solution.

Ultimately, it depends on your needs, time, and money you want to invest.

2.0x Versus 1.8x Versus 1.33x Horizontal Squeeze

Vazen and SIRUI use different comparisons for the horizontal field of view.

The Vazen lenses mentioned in this article increase the horizontal field-of-view (FOV) 1.8x times, whereas the SIRUI increases the horizontal FOV by 1.33x.

Compared to Vazen lenses, the SIRUI lenses offer less horizontal compression, limiting the advantages of using an anamorphic lens. You get slightly less of the oval-shaped bokeh effect and less vertical resolution. Because of this, the SIRUI options are more affordable.

Price and horizontal squeeze factors are often connected. Modern native lenses with a 2.0x MFT are almost impossible to find.

The only one that comes to mind is the SLR Magic 50mm T2.8 2x Anamorphot-CINE Lens with MFT Mount.

So, if you want a 2.0x squeeze, vintage is probably the way to go for now.

Aperture Settings – T-Stops Versus F-Stops

T stops on a cine lens

The lens’s aperture range is the next consideration, typically measured in f-stops.

The lens’s aperture determines the amount of light that reaches the sensor.

Generally speaking, a higher aperture allows less light to enter the camera, which is better for wide, open shots. High aperture settings are commonly used for landscapes or group shots.

A lower aperture allows more light to reach the camera, often used for low-light environments and a tighter focus on close subjects.

Along with the aperture settings, various factors influence the amount of light that reaches the camera sensor. Lens coatings, the quality of the glass, and small differences in the lens design can yield different results with the same aperture setting.

When editing camera footage from multiple cameras with various lenses, subtle differences in color and lighting become more noticeable.

T-stops were created to provide a more accurate measurement of light. Most cinema lenses use T-stops, allowing cinematographers to switch lenses and cameras and produce consistent results.

The anamorphic lenses from SIRUI use f-stops and have an aperture range from f/1.8 to f/16. Vazen uses T-stops for its anamorphic lenses. The smaller 28 mm lens has a maximum T-stop of T2.2, while the others start at T2.

If you have additional videography gear, including other video cameras and lenses that use T-stops, you may prefer the consistency of the Vazen lenses.

However, if you only use lenses with f-stops, getting a T-stop lens does not offer a significant advantage.

Editors Choice: What Modern MFT Anamorphic Lens Provides the Most Bang-for-the-Buck??

Vazen and SIRUI are your main two options for anamorphic lenses for MFT cameras.

Vazen has the more expensive line of anamorphic lenses. The Vazen anamorphic lenses measure the aperture setting in T-stops, which is useful if you use other cinema lenses.

Vazen also features high-quality optics for increased sharpness, a bigger focus throw, and a bigger horizontal squeeze factor.

If you want the highest resolution and clarity, the Vazen lenses are the top recommendation. However, the SIRUI anamorphic lenses are a budget-friendly choice and a step from using anamorphic filters.

The SIRUI lenses are more affordable, making them the preferred choice for those with less budget.

The SIRUI lenses use a 1.33x squeeze factor, which gives them slightly less vertical resolution. When using multiple lenses or cameras for the same shot, you are also more likely to notice inconsistencies in color and exposure levels.

When choosing the right focal length, the 28 mm Vazen and 35 mm SIRUI lenses provide the widest field of view. Consider using the 40 mm Vazen or 50 mm SIRUI lens for greater versatility and distortion-free close-ups.

If I were to pick only one lens out of these, it would be the 28mm Vazen due to its versatility (lightweight, gimbal, and run-and-gun friendly size) and build quality.

Closing Thoughts

Anamorphic lenses tend to be more expensive than spherical lenses. For micro four-thirds (MFT) sensors, it’s no different.

However, they are still way more affordable than, for example, a set of Cooke anamorphic lenses you typically see on an ARRI or RED camera in big-budget productions.

Plus, with MFT-cameras such as the Panasonic GH5 or Blackmagic Pocket Cinema Camera 4K (BMPCC 4K), you have the option to adopt lenses designed for bigger cameras or even vintage anamorphic, which makes this system a great way to get the anamorphic cinematic look at a low cost.

However, that is a different topic for another, and going down that rabbit hole is very time-consuming.

Plus, not everyone wants the hassle of searching the web for vintage taking (prime) and old projector lenses or dealing with complicated single or dual-focus lens setups.


  • Jan Sørup

    Jan Sørup is a indie filmmaker, videographer and photographer from Denmark. He owns and the Danish company Apertura, which produces video content for big companies in Denmark and Scandinavia. Jan has a background in music, has drawn webcomics, and is a former lecturer at the University of Copenhagen.

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