Review: Sirui 40mm T1.8 Anamorphic Autofocus for Sony E
Intro
For decades, anamorphic lenses were the domain of high-end cinema. They were large, expensive, and designed for use with full camera rig setups, follow focus systems, and a dedicated crew. These lenses were out of reach for the hobbyist, solo shooter, or independent filmmaker.
That changed when Sirui, a Chinese manufacturer known for camera support gear like tripods and monopods, entered the lens market. Over the past five to six years, Sirui has released a range of budget-friendly manual focus anamorphic lenses that proved incredibly capable in the hands of the right indie cinematographer. They kicked off 2025 with another landmark innovation, the first autofocus anamorphic lens, the Sirui 40mm T1.8 AF 1.33x Anamorphic.
Specs
Focal Length: 40mm (Horizontal FF equivalent of 42mm)
Mount: Sony E (Crop Sensor); also available for Fuji X, Nikon Z, Leica L, and Micro-Four Thirds.
Minimum Focus Distance: 60cm (0.6m)
Maximum Aperture: T1.8
Minimum Aperture: T22
Optical Construction: 16 elements in 12 groups; 11 diaphragm blades
Weight: 614g
Dimensions (Diameter x Length): 64mm x 54.5mm (2.5" x 2.1")
Filter Size: 77mm (Fits 80mm Matte Boxes)
Weather Sealing: Water & Dust Resistant
Price: $699 on B&H
Build Quality
The core body of the Sirui 40mm T1.8 Anamorphic AF lens is built from solid metal, with rubberized buttons and plastic switches. The focus and aperture rings feature standard cine-style gearing, allowing easy integration with follow focus systems for manual operation. Controls include an AF/MF toggle, an aperture de-click switch, and a autofocus lock button. The lens also features a rubber gasket at the mount for added sealing, along with a USB-C port to support future firmware updates.
The lens feels solid in the hand yet remains lightweight and easy to manage, making it well-suited for handheld shooting throughout a full day of filming. One limitation is the focus ring, which lacks hard stops and uses an electronic, acceleration-based system. This makes precise, repeatable focus pulls more challenging. A thoughtful design feature, however, is the ability to lock the aperture ring into the automatic “A” position, allowing aperture control directly from the camera body.
The front of the lens features a 77mm filter thread, making it compatible with standard filters like variable NDs or polarizers. Additionally, the 80mm outer diameter of the front barrel supports clamp-on matte boxes, offering more flexibility for rig-based setups.
The optical design of the lens features a complex internal structure, with 16 elements arranged in 12 groups. This includes one aspherical element to help control spherical aberration and five cylindrical elements responsible for creating the anamorphic squeeze and signature cinematic look. The amount of glass movement inside also depends on strong focus motors in order to achieve accurate and quick focus, which we’ll discuss in the next section…
Performance
The Sirui 40mm T1.8 is a solid performer, but in my experience, the image it produces doesn't fully embody the classic cinematic anamorphic aesthetic we associate with Hollywood films. It lacks some of the signature characteristics that draw filmmakers to anamorphic glass, things like distortion, strong character, and expressive optical quirks that give a shot its unique image.
To be clear, the Sirui delivers a very clean image. But "clean" isn’t always the goal, especially for indie filmmakers working on narrative projects. Many cinematographers specifically seek lenses that bring unique visual traits: swirly bokeh, rich color, highlight roll-off, textured flaring, or a dramatic squeeze factor. In comparison, the Sirui’s image feels closer to a spherical photo lens that's been cropped to a 2.35:1 aspect ratio rather than something born from a true anamorphic lens.
One particularly unusual image characteristic is the hexagonal bokeh. While many anamorphic lenses traditionally produce the classic oval-shaped bokeh, the Sirui renders out-of-focus highlights as hexagons. A look down the barrel reveals why. The anamorphic iris is shaped like a hexagon rather than an oval, which likely contributes to the polygonal look of defocused elements. It's a unique design decision, but one that may not satisfy those seeking that unmistakable anamorphic character. The Sirui has a slight pincushion distortion which causes the image to very slightly warp inwards. I prefer barrel distortion where the peripheries of the image bend outwards.
The anamorphic flare on the Sirui 40mm T1.8 is well controlled and should satisfy filmmakers looking for the classic horizontal streak. The lens is available in two coating options: one that produces the familiar blue flare reminiscent of JJ Abrams' style, and another with a neutral coating that adapts to the color temperature of the light source for a more naturalistic look.
While I’ve already touched on the underwhelming "anamorphic character" of the image, the lens still performs well as a cinema lens overall. It delivers a sharp image with strong flare resistance and offers a surprisingly large image circle. I tested it on my Sony A1 in both crop mode and full-frame. In full-frame, there’s a slight vignette, but if you punch in using Active Stabilization or a digital crop, it’s very possible to achieve a clean, true full-frame image, even though Sirui doesn’t officially market this lens for full-frame use.
Autofocus Performance
Autofocus anamorphic lenses are still a new frontier in filmmaking, and as expected, the performance is inconsistent. Out of the box, the autofocus ranges from average to below average by today’s standards. The internal motors tend to overcorrect, and there's a noticeable and audible noise during focusing.
I tested the lens on a snowy day in New York, and it clearly struggled with focus hunting as snowflakes passed in front of subjects. However, after updating the firmware, I used the lens on my Sony FX30 for a corporate talking-head interview, and it performed reliably. Though the focus motor was still audible when the subject was moving. This is something to keep in mind if you’re shooting in environments that demand silent operation or if you're working with scenes that have a lot of unpredictable motion.
One important caveat is that if you’re using this lens in the anamorphic desqueeze modes on the Sony FX30 and FX3, you’ll lose autofocus ability. I don’t believe this is a limitation coming from the lens, but rather Sony camera bodies don’t know how to process autofocus on an anamorphic image.
Competitors
The only other autofocus anamorphic lens currently available to the public comes from Blazar, who coincidentally launched their Apex 50mm T1.8 Anamorphic AF lens around the same time as Sirui’s announcement. While both brands claim to have released the first autofocus anamorphic lens, from what I’ve seen, Sirui was the first to actually get their lens into the hands of consumers. My full review of the Blazar 50mm T1.8 will be live on my website soon, but in the meantime, here are a few comparisons between the Sirui and the Blazar.
Autofocus
As I mentioned earlier, the Sirui’s autofocus performance is a mixed bag. The internal motors struggle to keep up with the camera body’s rapid commands. This mismatch causes the lens to overcorrect and jitter as it hunts for focus. In contrast, the Blazar lens takes a different approach. While it's noticeably slower to lock focus, it does so in a much more organic and deliberate way. The result feels like a focus puller gradually dialing into critical focus with a follow focus system. Personally, I prefer the Blazar’s natural and cinematic focusing behavior over the more erratic performance of the Sirui.
Lens Construction
Both the Sirui and Blazar lenses deserve credit for their solid metal construction. I’ve used them in challenging weather conditions, and both held up well, showing reliable weather and water resistance.
That said, there are some design choices that may bother certain users. The Sirui features standard cine-style geared rings on both the focus and aperture rings, which is great for rig setups. The Blazar, however, only includes gearing on the focus ring. On the plus side, the Blazar’s focus ring has hard stops, which makes manual focus pulling far more repeatable and tactile, something the Sirui lacks due to its 360-degree, fly-by-wire-style focus rotation.
One drawback I experienced with the Blazar is its aperture ring. It’s permanently de-clicked and very easy to turn by accident, so you might unintentionally shift your exposure without realizing it until later. It also lacks the automatic aperture "A" mode found on the Sirui, meaning aperture can only be adjusted manually on the lens body. To make matters more difficult, the aperture ring is quite thin and has no gear teeth, which makes it a hassle to access, especially if your camera is built out with a cage or rig.
The Sirui definitely takes the win in terms of design functions. The Sirui also might be more favorable if you’re not trying to attract too much attention. Its minimal all-black color scheme is clean, professional, and discreet. Ideal for shooters who prefer to keep a low profile on set or in public spaces. In contrast, the Blazar features a metallic silver and orange finish that stands out visually, which might not appeal to those who want their gear to stay under the radar.
Image
Anamorphic image quality is ultimately subjective, and preferences will vary depending on the look you're after. Filmmakers who favor a clean, controlled image will likely appreciate what the Sirui has to offer. On the other hand, those seeking a more traditional anamorphic aesthetic with character-rich visuals with oval bokeh and painterly background separation, will gravitate toward the Blazar.
Out-of-focus rendering from the Blazar Apex 50mm T1.8
Personally, I prefer the look of the Blazar. Its oval bokeh and beautifully soft out-of-focus rendering evoke the classic anamorphic image that many indie filmmakers chase. The Blazar also produces a pleasing anamorphic flare, though it does have a tendency to create double flares depending on the angle of incoming light. In contrast, the Sirui handles flare with more precision and control, effectively minimizing artifacts like double streaks.
One final advantage in Sirui’s favor is its larger image circle. This makes it a more versatile option for filmmakers using full-frame cameras, as it allows for wider framing and more flexibility in post. In contrast, the Blazar has a true Super 35/APS-C image circle, which limits it to smaller sensor formats and tighter framing. For those working in full-frame workflows, the Sirui will offer a noticeable edge in coverage and composition.
Final Thoughts
Overall, I put the Sirui 40mm T1.8 Anamorphic Autofocus lens through a wide range of shooting scenarios, and it proved to be an impressive first step into the emerging world of autofocus anamorphic glass. I used it in challenging outdoor nighttime street scenes with my Sony A1, as well as in a more controlled corporate talking-head setup on the Sony FX30. Ultimately, I think the Sirui’s versatility, especially its large image circle and autofocus capability, will appeal to filmmakers working across both full-frame and crop sensor platforms.
Pros:
Affordable price for a cinema lens
Lightweight
Above-average sharpness
Lens construction is thoughtful and thorough
Super 35 and Full-Frame image circle
Updates via USB-C
Weather resistance
Comes with a soft-case for storage
Cons:
AF Performance is sporadic
Hexagonal bokeh
Stale and clean image
Rating: 2.5/5
The Sirui 40mm T1.8 Anamorphic Autofocus lens is exciting from a technological standpoint—it marks a major milestone as the first autofocus anamorphic lens available to the public. That innovation alone makes it a noteworthy release. That said, I personally rated this lens a 2.5 out of 5, reflecting my view that it lands squarely in the “average” category.
I don’t want to come off too harsh, because the lens is absolutely usable. It’s capable of delivering clean, sharp images and I’ve used it for paid projects without issue. But usability doesn’t always equate to creative inspiration. The lens has its quirks, such as inconsistent autofocus performance and out-of-focus elements that lack the organic, cinematic charm that many filmmakers look for in anamorphic glass.
At the end of the day, the Sirui delivers a technically competent image—but if you're chasing that distinctive, character-rich anamorphic look, this lens might leave you wanting more.
Providing a B&H Photo Affiliate link if you’d like to purchase the lens so I can use the funds to run my reviews. Thanks!
