Sirui, a company known for its affordable yet innovative optics, has ventured into the autofocus (AF) market with its first full-frame autofocus lens—the Aurora 85mm f/1.4. Priced under $500, this lens is clearly aimed at budget-conscious portrait photographers, offering a combination of wide aperture, eye autofocus, and portability. However, its specifications and features raise the question: could it also have some potential in cinematography, particularly for low-budget or hybrid shooters?
Build Quality and Features
The Aurora 85mm f/1.4 is sleeved in an anodized aluminum housing rather than plastic one would typically expect from a sub-$500 lens from an infant lens manufacturer. However, at just 504 grams, the lens lacks the density and heft that photographers and cinematographers traditionally associate with high-end glass. While this lightweight build makes it ideal for photographers who shoot handheld for extended periods or filmmakers using gimbals or drones, it might not inspire confidence in those used to the solid, reassuring feel of professional cinema lenses.
Despite this, the Aurora has some appealing features. It’s dust and weatherproof, making it suitable for outdoor shoots, and it comes with a de-click switch on the aperture ring, which allows for smooth aperture transitions—a nod to videographers. The 67mm front filter thread is an ideal size for implementing add-on accessories – more on that below!
At launch, the Aurora will be available in Sony E, Fuji X, and Nikon Z. The lack of Sigma/Leica L mount compatibility is a glaring oversight in my opinion. The E mount model will also include a rear-facing USB-C port integrated into the mount for quick firmware updates as needed.
AF in Cinematography: A Double-Edged Sword
Autofocus can be a divisive topic among filmmakers. While it’s invaluable in photography, manual focus is still the gold standard in most cinematic applications, allowing for precise control during intricate shots. Sirui has equipped the Aurora 85mm with eye autofocus and object tracking, and claims that the AF system is fast and reliable even during video recording. This could be an appealing feature for indie filmmakers, vloggers, or run-and-gun shooters who need responsive focusing in unpredictable environments. However, it remains to be seen how well this autofocus will hold up compared to the more refined AF systems from established brands like Sigma or Sony.
Optical Performance and Cinematic Qualities
The Aurora’s optical design includes 14 elements in 9 groups, featuring one aspherical element, two ED (extra-low dispersion) elements, and three HRI (high refractive index), all with the goal of reducing aberrations and stray light and improve light transmittance. Sirui also claims that the lens delivers high image resolution even wide open, with minimal ghosting and aberration. Its 15-blade aperture promises smooth, cinematic bokeh, which can help create subject separation and give videos a professional look. That said, one key concern for cinematographers will be how well the lens handles flares and contrast in demanding lighting conditions.
Comparing the Competition
We wanted to put the performance of the Aurora 85mm f/1.4 into context so we put it between two lenses on opposite sides of the price spectrum; the Zeiss Otus 85mm f/1.4 ($4,500) and Rokinon 85mm f/1.4 ($300). It’s worth noting that both of the lenses we are comparing the Aurora to lack any electronic components. Those features might not effect image quality, but they do have an impact on general usability.
Bokeh & Resolution
At less than a quarter of the price, the Aurora holds its own against the masterful Zeiss Otus. While the Zeiss squeezes out slightly higher contrast and sharpness over the Aurora, the overall quality of the image is comparable, especially considering the wide open images! Also worth observing is the similarities in the quality and character of the bokeh between the Aurora and the Otus. We threw the Rokinon 85mm T1.5 Cine DS for good measure. But please note that the minimum focus distance of the Rokinon is noticeably inferior which produces a whole different image.
Flaring
Below are examples of what flares look like across the three lenses. Unsurprisingly, the Zeiss Otus has a much better control over flaring with hardly any drop in contrast wide open. The Aurora comes in second wide open, in my opinion. There is a more pronounced flaring, but overall it looks pleasing and natural compared to the Rokinon which has a more dramatic, distracting quality to it.
However, when we get to f/5.6 the flaring on the Sirui Aurora has much more pronounced and detailed flaring compared to the Rokinon. You can judge for yourselves whether that is the look you are going for or not.
Could It Be Cine-Mod’d?
For those looking to adapt the Aurora for more cinematic use, some modifications could make it more versatile. While the lens won’t accommodate a PL mount conversion, it can be equipped with a Duclos 80mm Front Ring, which allows for compatibility with common 80mm matte boxes and clamp-on accessories. This is a significant improvement for filmmakers who want to incorporate the lens into a larger rig without worrying about size mismatches or filter limitations. The lightweight design also makes it ideal for use in smaller, more portable setups like gimbals or drones. Additionally, a focus gear can be added to the lens as well for a more traditional operation with a motor or follow-focus. This would allow a focus puller to apply their craft rather than relying on a camera to manipulate the focus for you. These features are standard in cine lenses for a reason: they offer the precise control needed in professional production. As such, while the Aurora might be cine-modded for specific uses, it’s not likely to replace dedicated cine lenses in more demanding setups.
Conclusion: A Stretch for Cinematographers?
The Sirui Aurora 85mm f/1.4 AF lens is an intriguing option for hybrid shooters—those dabbling in both still photography and video production. It packs a lot of features into a lightweight, affordable package, and for photographers who need video capabilities, it’s an attractive option. However, for serious filmmakers or those working on more complex productions, the lens’s autofocus system, lightweight build, and lack of cine-lens features might limit its appeal.
That said, it has potential for low-budget filmmakers or content creators who prioritize portability and speed over absolute precision. The question remains: is it worth adapting for more cinematic use, or is it best left as a solid portrait lens with video perks? Only hands-on testing in a cinematic environment will reveal whether the Sirui Aurora 85mm can truly straddle both worlds.