Anamorphic Optics Enter a New Phase of Adoption
An anamorphic lens is a cinema lens that optically squeezes the image onto a sensor, then is unsqueezed in post or monitoring to create a wider aspect ratio, distinct oval bokeh, and horizontal flares while preserving resolution and field of view. After years as a niche, rental-only tool, new anamorphic lens announcements now span independent-friendly zooms, macro primes, full-frame anamorphic lenses, and large-format cinema zooms. This generation is less about proving the appeal of the anamorphic look and more about making it practical across budgets, formats, and workflows. SIRUI, ZEISS, Blazar, and Angénieux are each pushing into different corners of the market, from close-focus anamorphic macro lens designs to premium 65-format cinema lens options, together pointing to a maturing ecosystem with fewer cost and format barriers for productions.
SIRUI’s 100mm Macro: Close-Focus Anamorphic for Detail Work
SIRUI is extending its IronStar line with a 100mm T2.8 1.5x anamorphic macro lens that tackles a long-standing practical problem: close focus. Earlier IronStar primes at 35mm, 45mm, 60mm, and 75mm opened to T1.9, but the 100mm and 135mm move to T2.8 so SIRUI can keep the physical size consistent and control costs across the set. The standout feature of the new 100mm is built-in 0.5x macro capability with a close-focus distance of 0.3m, letting shooters fill the frame with details without adding diopters. That keeps infinity focus and avoids extra glass in front of the lens. Covering full frame with a 1.5x squeeze, the IronStar 100mm expands anamorphic macro lens options for product work, nature inserts, and stylized close-ups that previously pushed many cinematographers back to spherical glass.
ZEISS Horizon: 2x Full-Frame Anamorphic with Electronic Brains
At the high end, ZEISS is entering the field with Horizon, a family of seven 2x full-frame anamorphic lenses aimed at productions that want both precision and character. Most of the set opens to T2.3, with the 200mm at T2.9, and ZEISS has committed to a classic 2x squeeze for strong spatial separation and depth. The design is visually distinct, built around internal motors for focus and iris that are powered through the PL mount and a Lemo connector, with electrical surge protection at both ends. According to ZEISS representative Sundeep Reddy, the focusing group moves on a gimbal rather than via a traditional geared system to help durability. Horizon lenses are also designed to start from a neutral image baseline, with adjustable image character so cinematographers can decide how clean or expressive they want their full-frame anamorphic lenses to be.
Blazar Sentinel: Indie-Friendly Anamorphic Zoom for Full Frame
Blazar, known for budget-minded anamorphic primes under its current and former names, is moving into zoom territory with the Sentinel 35-60mm 1.33x T2.2 full-frame anamorphic zoom lens. Weighing 970g and offered with four mount options, the Sentinel is pitched at run-and-gun and documentary crews who need speed more than a full prime set. Its continuous 35-60mm range covers common wide-to-medium focal lengths used in narrative and documentary work, reducing lens swaps and keeping rigs lighter. The 1.33x squeeze is a gentle anamorphic treatment that pairs neatly with 4:3 sensors for a classic 2.39:1 frame, while still adding cinematic character on 16:9 cameras. With an introductory price of USD 1,099 (approx. RM5,060), the Blazar Sentinel positions the anamorphic zoom lens as a realistic, everyday tool for independent filmmakers rather than an occasional rental splurge.
Angénieux EZ 65 and the Maturing Anamorphic Ecosystem
While not anamorphic, Angénieux’s new EZ 65 series shows how large-format optics are catching up with camera sensors and complements the anamorphic trend. The EZ-2 65 (27-72mm T3.6) and EZ-3 65 (82-300mm T4.2–T5.4) are LPL-mount zooms with a 60mm image circle aimed at 65-style sensors such as the ARRI ALEXA 265, Blackmagic URSA Cine 17K 65, and FUJIFILM GFX ETERNA 55. Built on the EZ concept of flexible, relatively affordable Angénieux zooms with familiar colorimetry, these lenses move the system into formats larger than full frame. As large-format and anamorphic coverage both expand, cinematographers can mix spherical and anamorphic looks within the same production without running into hard format limits. Together with macro and indie zoom releases, these cinema lens options mark a convergence: from close-focus anamorphic primes through full-frame anamorphic zooms to large-format workhorses, the market is shifting toward broader, more accessible cinematic optics.
