The Sirui 40mm T1.8 1.33x is Anamorphic AF

Over the past year, a fresh batch of exciting lenses has emerged, adding new flavors to the ever-evolving lens industry. While these releases have certainly stirred the pot, as the saying goes, the technique you use can make all the difference in the final dish. Now, Sirui enters the scene with their bold campaign for the 40mm T1.8 1.33x AF Anamorphic Prime, leaving us to wonder: Will this new ingredient enhance the overall recipe, or will it be a flavor that fades into the background?

Don’t worry there are no more references to food going forward.

Key Features of the Sirui 40mm T1.8 Cine Lens

• Focal Length: 40mm, ideal for wide-angle shots and versatile cinematography.
• Aperture: T1.8-T22
• Focus, Iris, and Zoom Control: Cinema-standard 0.8 pitch gears for precise control. STM AF Motor. AF/MF switch.
• Compact and Lightweight: 614g (1.35lbs).
• Format: S35
• Lens Mount: E, X, Z, MFT
• Close Focus: 0.6m (1.97ft)

Compact and Lightweight Design

At just 614g (1.35lbs), the Sirui 40mm T1.8 is exceptionally portable, making it an ideal lens for on-the-go filmmakers or those working in tight spaces. Anamorphic has always been a cheat code for getting a wider field of view when using a smaller format. Although it is a s35 lens, the Sirui 40mm will be equivalent to using a 42mm on a Full Frame sensor. Which means it’s versatile for shooting practically anything.

Optical Performance

In terms of image quality, the Sirui 40mm performs exceptionally well for its price. The bright T1.8 aperture ensures that you get excellent performance in low-light conditions, and the lens maintains sharpness across the frame while minimizing chromatic aberrations. It’s not at all surprising given how well-corrected many of Sirui’s lenses are. The optical design delivers pleasing bokeh, with a soft, creamy background that contrasts well with the sharpness of your subject.

Dual Automatic and Manual Operation

Designed with the professional filmmaker in mind, the Sirui 40mm features an STM motor that enables accurate autofocus and allows for the use of helpful features such as eye focus and tracking with compatible cameras. For those who prefer a more hands-on approach, it also offers the flexibility to switch to full manual control with precise gearing. We’ll explore the benefits of autofocus in the following section.

For the record, my opinion aligns with the old saying: “It’s better to have it and not need it than need it and not have it.” Pulling focus, in and of itself, is an art form that has long set professional filmmaking apart from mere content creation. However, that analog skill can coexist harmoniously with digital tools, much like painting on canvas can with Adobe Illustrator. At the end of the day it’s an $800 lens—let’s get off our high horses.

The Question of Autofocus in Cinema Lenses

As filmmakers demand more versatile tools, hybrid cinema lenses with features like autofocus and motorized controls are becoming more common. The Sigma 28-45mm T2 and Nikon 24-135mm f/4 PZ are two such examples, offering motorized functions aimed at streamlining workflows for small crews or solo shooters. But how do these newer technologies compare to the traditional manual cinema lenses and is autofocus really the future of cinema lenses?

Sigma 28-45mm T2: This lens introduces autofocus, along with motorized zoom, focus, and iris control. While autofocus may offer speed and convenience, particularly in documentary filmmaking or live-event coverage, it raises concerns about the loss of creative control. Autofocus systems, while improving, lack the subtlety and precision that a skilled focus puller can provide. For narrative filmmaking, where focus changes are often an essential part of the story, manual control still reigns supreme for its artistry and nuance.

Nikon 24-135mm f/4 PZ: Nikon’s offering with a Power Zoom function is designed with hybrid video creators in mind. While the smooth zoom control is useful for live events, it lacks a true T-stop rating, which is crucial for matching lenses and maintaining consistent exposure on set. The Power Zoom feature makes it more of a tool for convenience rather than a precision instrument for high-end cinema. It represents a shift toward lenses that prioritize flexibility over the traditional controls demanded by professional cinematographers.

The Autofocus Dilemma in Cinema: Autofocus in cinema lenses is an effort that has been attempted various times over the years, but it has yet to fully replace the traditional, manual approach. For high-end filmmaking, the tactile control of manual lenses is irreplaceable—particularly when the focus puller’s precision and the director’s artistic vision are integral to the story. While autofocus might offer a quick, efficient way to capture moments, it still cannot match the subtlety and creative flexibility of manual control. Cinematographers who value the human element of filmmaking may find autofocus systems lacking, especially in dramatic narrative contexts.

Although… technology advances, today faster than ever, so it’s only a matter of time. We’ll revisit this conversation later on.

Conclusion: Embracing Tradition and Innovation

The Sirui 40mm T1.8 Cine Lens offers independent filmmakers an exceptional combination of high-quality optics, manual/AF controls, and a compact, durable design—all at an affordable price. Whether filmmakers embrace automation in the form of hybrid lenses or continue to prioritize the hands-on experience of manual lenses will be determined by the type of work they are creating. For now we can only infer by Sirui’s successful campaign (currently at 765% of their original fundraising goal) that the 40mm does have a market.

For a look through Sirui’s other products make sure to visit our shop. To be a part of their campaign, you can purchase the 40mm at a discount for $639 before it hits dealers at $799. Shipping begins December 9th for those that participate.