
Sirui 24mm f/2.8 Anamorphic E Mount Lens
Capture cinematic widescreen footage with signature blue anamorphic flares using this Sirui 24mm 1.33x squeeze lens.
*Price sourced from Amazon.com. Last updated:Jul 14, 2026.Price and availability are subject to change.
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Overview
Key Features
The anamorphic element group in the lens squeezes the horizontal field of view 1.33 times to produce the 2.4:1 aspect ratio. As the focal length shortened to 24mm, the angle of view also gets wider, rendering an expansive horizon.
One of the obvious changes for the 24mm lens is reducing the minimum focusing distance to 0.6m, therefore, you don’t have to back away too much to focus the subject when shooting space is limited.
Not just for video use, this lens allows you to distinguish your photo from a standard 16:9 photo, with all the noticeable anamorphic elements including a spectacular 2.4:1 rectangular look, blue light streak, and oval bokeh.
The precision aluminum alloy enhances the strength of the lens housing. Assembling with the solid housing, the copper Aperture and Focus rings are designed with an anti-slip teeth surface for smooth, comfortable focus and light adjustment.
The high-class Schott glass lens elements with Nano-coating can suppress aberration and vignette, rendering excellent resolution and sharpness to a cinematic image.
Specifications
Pros & Cons
👍 Pros
- 1.33x anamorphic squeeze produces a true widescreen 2.4:1 aspect ratio with authentic oval bokeh
- Distinctive blue anamorphic flares add cinematic character without post-production filters
- 24mm focal length on APS-C provides a versatile wide-angle field of view for establishing shots and dialogue scenes
- 13 elements in 10 groups lens design maintains sharpness while delivering the anamorphic look
- Affordable entry point into anamorphic filmmaking compared to traditional cinema anamorphic lenses
👎 Cons
- Manual focus only requires more deliberate shot planning and may challenge solo operators
- 0.6m minimum focus distance prevents close-up work and limits framing in tight spaces
- APS-C coverage only, so full-frame shooters will experience heavy vignetting
- Desqueezing footage in post adds an extra step to the editing workflow
- f/2.8 maximum aperture is slower than many cinema primes, limiting low-light performance