The project debuted on Kickstarter with a goal of just $5,000, but the response has been far stronger. As of writing, the campaign has surpassed $258,000, signaling significant interest from filmmakers and content creators. The Astra series lenses are coming to Sony E, Nikon Z, and L-Mount.

This year, the company has also released a number of prime lenses in the Aurora series, which is geared more towards photography. The current lineup includes the 85mm F/1.4 and the new 35mm F/1.4.

A New Autofocus Anamorphic Lineup

The Sirui Astra series consists of 50mm, 75mm, and 100mm T1.8 autofocus anamorphic cine lenses. Sirui says the lineup is designed for independent filmmakers and professional creators who need high-end image quality with user-friendly operation for run-and-gun setups.

As with most cinema lens series, the three Astra lenses share a uniform physical design. They have consistent dimensions and ergonomics, weigh between 600 and 700 grams, and all use 67mm filter threads with matching gear positions. This uniformity means operators can swap lenses on rigs and gimbals without recalibrating or rebalancing.

Classic Cinematic Look With a 1.33x Squeeze

Each lens features a constant 1.33x squeeze ratio, delivering a proper 2.35:1 widescreen image without cropping or pixel loss. The resulting footage includes oval bokeh, vertical stretch in the background, and the immersive aesthetic that anamorphic shooters expect.

The Astra lenses also support fast and accurate autofocus, enabling solo filmmakers and small crews to shoot cinema-grade footage with greater ease. Focus distance scales are built in, and the lenses are compatible with LiDAR follow-focus systems for consistent and reliable tracking.

With a fast T1.8 aperture, the lenses are capable in low-light environments and night scenes while offering shallow depth of field and smooth, soft bokeh. Buyers can choose between blue flare or neutral flare versions to match the desired anamorphic look. Shooting into bright light sources emphasizes the signature flare characteristics of each model.

Pricing and Availability

The Sirui Astra 1.33x autofocus anamorphic lenses are currently available through Kickstarter for $799 each, or $2,399 for a three-lens set that ships with a hard case. Once the crowdfunding campaign ends, they will retail for $999 per lens, and the full set will be priced at $2,999.

Mount options include Sony E, Nikon Z, and L-Mount.

The post Sirui’s Autofocus Astra Anamorphic Lenses Attract Over $250K on Kickstarter appeared first on Imaging Resource.

Designed for Sony E and Leica L mounts, the new cine zoom combines the optical performance of Sigma’s stills glass with cinema-ready controls, aiming to deliver a professional, high-performance solution for filmmakers. The lens is priced at $3,399 and is now available for pre-order.

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A Cinema Lens With Autofocus

The AF Cine 28-45mm T2 FF is based on the optical formula of Sigma’s 28-45mm F/1.8 DG DN Art lens but features redesigned electrical and mechanical components to integrate focus and aperture control for cinema applications. The design also reflects a premium cinema build, with dust and splash resistance for use in demanding environments.

Driving the autofocus system is Sigma’s High-response Linear Actuator (HLA) motor, which promises fast, precise, and near-silent operation – a key factor for professional video work. The lens also includes a manual focus ring with distance scale, a fixed rotation range, and compatibility with Direct Manual Focus and AF Assist on Sony E-mount, as well as AF+MF on Leica L-mount.

Optical Quality and Build

Sigma claims the new cine lens delivers exceptional resolution, smooth bokeh, and minimal flare and ghosting, resulting in clean, high-contrast images.

The lens itself is substantial, weighing 1.2kg with a length of 151.3mm. It features a 95mm front diameter and accepts 82mm filters. Other cinema-friendly features include:

• Limited-rotation focus ring for precise pulls
• Industry-standard 0.8M pitch gears for follow-focus setups
• Clickless aperture ring for smooth exposure transitions
• Support for optional accessories, including a USB Dock, Clamp-on Ring, and a range of front filters

Pricing and Availability

The Sigma AF Cine 28-45mm T2 FF is priced at $3,399 and is available for pre-order now through B&H Photo. Shipping is expected to begin November 6, 2025.
 

The post Sigma Launches the new AF Cine 28-45mm T2 FF, Its First Autofocus Cinema Lens appeared first on Imaging Resource.

DZOFilm has officially launched its Vespid2 series of cinema prime lenses, and they’re now available both individually and as a complete six-lens kit through B&H Photo. The lineup spans six focal lengths — 18mm, 24mm, 35mm, 50mm, 85mm, and 105mm — all designed to deliver improved sharpness, reduced chromatic aberration, and consistent image quality across the range.

The Vespid2 series was first showcased as prototypes during NAB 2025 back in April. According to DZOFilm, the updated optical design eliminates nearly all chromatic aberrations in the center of the frame while producing cleaner, more uniform bokeh compared to the previous-generation Vespid lenses.

A Unified Design for Cinematographers

Each Vespid2 lens features a bright T1.9 aperture and shares the same coatings and color temperature, making it easier to mix and match focal lengths without color-matching headaches in post. The entire set covers full-frame and large-format sensors, including VistaVision, giving filmmakers plenty of flexibility for high-resolution cinema projects.

One of the key highlights of the Vespid2 series is its uniform design. All six lenses have the same dimensions and nearly identical weights, allowing for seamless lens swaps without rebalancing gimbals or adjusting rigs. They feature an 80mm front outer diameter for compatibility with a wide range of matte boxes, cine-style 0.8 MOD focus and aperture gears, and a 300° focus barrel rotation for precise, controlled focus pulls. A new coating on the lens housing also helps reduce reflections, improving contrast and flare control on set.

Advanced Metadata and Virtual Production Support

The Vespid2 series supports real-time metadata transmission thanks to Cooke /i technology integration, enabling compatible cameras to capture critical lens information for shot replication, VFX workflows, and virtual production environments. Lens data can be transmitted directly via the lens mount or through a LEMO connector, making the system more adaptable for wireless lens control and advanced production setups.

Despite their cinema-focused build, the lenses are surprisingly lightweight at just 1.76 lb (800g) each, making them suitable for gimbals, drones, and handheld rigs. While currently available only in ARRI PL mount, the lenses can be adapted to other systems using PL adapters.

Pricing and Availability

The DZOFilm Vespid2 lenses are available individually for $1,199 to $1,299 each, or as a six-lens kit priced at $6,289, which includes a custom hard carrying case. The lenses are now in stock at B&H Photo.

The post DZOFilm Vespid2 Cinema Prime Lenses Are Now Available appeared first on Imaging Resource.

Unveiled alongside Sigma’s other big announcements this year-including the long-reach 300-600mm F4 lens and the innovative BF mirrorless camera-the Aizu line marks a turning point for the company’s commitment to cinema.

Twelve Cinema Lenses

The initial launch includes eight lenses spanning 25mm to 75mm, with four more focal lengths (18mm, 21mm, 100mm, and 125mm) to follow. Together, they’ll cover a wide range of needs, from ultra-wide establishing shots to tighter, more intimate framing. Each lens delivers a shallow depth of field, creamy bokeh, and low-light performance made possible by the fast T1.3 aperture-rare even among high-end cine lenses.

Sigma says the Aizu primes are engineered to balance modern sharpness with a more organic rendering. The goal is to avoid the overly clinical look some modern lenses are known for. Instead, these lenses aim for texture, depth, and nuance-qualities many DPs look for when shaping a scene’s emotional tone. Flare is controlled but intentionally present, providing just enough cinematic flavor without overwhelming the image.

In terms of image circle, the lenses are no slouch. The Aizu primes support full-frame and Super 35 sensors, but they also fully cover large formats like ARRI ALEXA LF Open Gate and VistaVision. That versatility gives filmmakers the confidence to use them across a wide variety of cameras and projects, from indie narratives to commercial productions.

Despite their fast glass and large-format coverage, the lenses are impressively lightweight. That’s a big deal for crews using Steadicams, gimbals, or handheld rigs. The housing is designed for durability, with a focus ring that rotates 180° and standardized 0.8 MOD cine gears across focus, iris, and zoom-ensuring compatibility with most lens control systems.

For productions incorporating visual effects, the Aizu line supports ZEISS eXtended Data, which provides real-time metadata during shooting, along with distortion and shading correction to streamline post-production workflows.

Where To Buy the Sigma Aizu Prime Lenses

The Aizu Prime Line will launch in ARRI PL and Sony E mounts, with the first eight lenses priced at $8,299 USD each and expected to ship in August. There’s no word yet on the release dates for the remaining four, but Sigma says those details will be shared soon.

And if you’re still looking for long glass, Sigma’s new 300-600mm F4 DG OS is also worth checking out-especially for sports and wildlife. We recently got hands-on with that lens and were impressed. Here is a full review of the new telephoto lens from Sigma.

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Our Recent Sigma-Related Coverage

Sigma’s Big Day: 16-300mm, 300-600mm Super Tele Zooms and an Unusual Compact Camera
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The post Sigma Launches Aizu Prime Line: Ground-Up Cinema Lenses with T1.3 Aperture appeared first on Imaging Resource.

In 2010, cinematographer and filmmaker Ivo Nörenberg approached Canon with a challenge. He wanted them to make a long telephoto zoom lens which was capable of high-quality 4K video footage in the Super 35mm format. Ivo works on wildlife documentaries and a long zoom lens would be very well-suited to wildlife production.

Well, Canon stepped up to the plate and produced the Cine-Servo 50-1000mm T5.0-8.9 lens. This lens features a removable Digital Drive unit and is available in EF and PL lens mounts. It delivers the world’s longest focal length when using its built-in 1.5x extender (75-1500mm) and was the highest magnification super 35mm zoom lens as of October 2014.

Despite its massive focal length, the lens is actually just under 16 inches long and it weighs under 15 pounds. For more information on the lens, including its full list of specifications, click here. In case you’re curious, this level of technology does not come cheap, the lens sells for over US$70,000.

As you can see in the video above, the design challenges posed to Canon by Ivo were born out of a real-world need. The size and weight constraints were born from the need to move quickly in the field when filming wildlife and the zoom range requirements were dependent upon artistic vision and technical desires. As you can also see above, the final result is a very impressive lens capable of producing excellent footage.

(Via Canon USA)

The post The challenges, design and production of Canon’s 20x 50-1000mm cinema lens appeared first on Imaging Resource.