At a recent photography event in China, VILTROX unveiled their forthcoming T2.0 1.33x full-frame anamorphic series. Spotted focal lengths include 35, 50, and 75mm with white cinematic housing.
Just a few days ago, SIRUI announced (here’s a link to the news) their new 35 and 100mm T2.9 1.6x anamorphic lenses and 1.25x adapter, surprising everyone once again by introducing one of the most affordable 2x anamorphic solutions on the market.
Now, VILTROX is following their lead by taking the first big step in the magical world of cinema anamorphic glass. The company already offers a T1.5 cine lens set for Sony E-mount cropped sensor cameras, which they recently expanded to include a native M43 mount option. However, it looks like they’re really trying to step up their game with this upcoming product release.
Although there’s still an aura of mystery surrounding these new products, we already have a glimpse of what they’re all about. Most likely, the initial lineup will consist of three focal lengths (35mm/50mm/75mm), all sharing the same fast aperture of T2.0. However, it would be a nice surprise to see wider or longer focal lengths pop up upon launch in the future.
The series covers the full-frame format, but it’s still unknown what mount options the company will offer. The three lenses on display feature an ARRI PL mount and were attached to popular mirrorless camera bodies, such as the Panasonic LUMIX S1H, via a lens adapter.
The lens barrel reports a squeeze factor of 1.33x, which is a perfect match for 16:9 sensors. Indeed, this combo produces final images with an aspect ratio that is close to the widely sought-after 2.39:1 and a subtle anamorphic look. However, there’s no word on the characteristic traits of these lenses in terms of light streaks and overall look yet.
All three lenses seem to be a little bulky and feature lens support at the bottom of the barrel. Nonetheless, when paired with a mirrorless camera body, they can still be balanced on a compact handheld gimbal, such as the newly-released DJI RS 3 Pro. Finally, the lens features a white cinematic housing, but it’s not clear whether this color choice only applies to pre-production models or will be carried on to the final release.
