Sony MANTIS MS-3LS1-E

The BLAZAR MANTIS 1.33x anamorphic 3-lens set gives full-frame Sony E shooters a complete cinema widescreen solution for under $4,000, complete with three focal lengths and oval bokeh. Optical sharpness and build quality take a hit compared to pricier anamorphic glass, but it's one of the cheapest ways to get authentic 2.35:1 output on your camera.

If you're trying to get that cinematic anamorphic look without selling your car, the BLAZAR MANTIS 1.33x Anamorphic 3-lens set (sold here as the Sony MANTIS MS-3LS1-E bundle) is one of the few full-frame options under $4,000. It gives you 35mm, 50mm, and 100mm primes, each with a 1.33x squeeze that turns a 16:9 sensor into a proper 2.35:1 widescreen canvas. The included Sony E mount means it'll slap right onto your A7S III or FX3, and you can swap to PL, RF, Z, or EF with separate adapters if your setup changes. For indie filmmakers or music video directors who want that oval bokeh and horizontal flare without renting, this set checks a lot of boxes on paper.

What you're really paying for here is accessibility. Full-frame anamorphic glass from brands like Cooke or ARRI can cost more per lens than this entire 3-lens kit, so BLAZAR is making a play for the crowd that's been stuck with APS-C anamorphic solutions or heavy post-production cropping. The 14-blade iris helps shape those signature stretched background highlights, and the T2.0 aperture (T2.4 on the 100mm) is fast enough for controlled lighting and run-and-gun night scenes if you don't mind pumping the ISO. But it's not all smooth sailing—that low price shows up in build quality and optical performance that our database ranks well below average for a reason.

Optical scores in our testing land in the 16th percentile among all lenses in this category, and that translates to images that need some love in post. Wide open at T2.0, the 35mm and 50mm are decent in the center but soften up noticeably toward the edges, and the 100mm at T2.4 follows the same pattern. Stopping down helps, but you're buying anamorphic for the wide-open character, not for chart-topping MTF lines. Flaring is a mixed bag—some shooters will love the blue streaky artifacts, others will find them overwhelming when a light source hits the glass just right. The 180-degree focus throw is smooth and makes for deliberate, repeatable pulls, though it's all manual, so you'll want a follow focus rig and some practice. With no optical stabilization and a weight of 790g per lens, handheld work is possible but shaky without a gimbal or shoulder rig, and the stabilization percentile sits at a mediocre 34th—so if you're not on sticks or stabilized, expect wobble.

Pricing varies wildly from about $2,799 to $3,848 across different vendors, so it pays to shop around before clicking buy. For what you get, that's still a compelling entry point if you need a full-frame anamorphic set and can't stretch to professional cinema glass. That said, you're making clear sacrifices: the optical and build quality don't match what you'd get from a trio of even midrange stills primes, and the total score of 31.3 out of 100 in our analysis reflects that. If you absolutely must have that 1.33x squeeze and oval bokeh on a full-frame Sony or Panasonic body without renting, this is one of the cheapest paths there. But if you can live with an APS-C sensor crop or don't mind adding a squeeze in post, competitors like the Sirui Venus anamorphic set or the Great Joy line often deliver better sharpness and more robust housings for similar money.

Stacked against conventional photo zooms like the Nikon NIKKOR Z 18-140mm f/3.5-6.3 VR or the Canon RF-S 18-150mm F3.5-6.3 IS STM, the BLAZAR set is a completely different beast. Those zooms give you autofocus, optical stabilization, weather resistance, and sharpness across the frame for a fraction of the price, but they'll never produce the stretched bokeh or widescreen squeeze that defines anamorphic cinematography. They're for different jobs—if you just need a versatile zoom for video with reliable AF and IS, grab the Nikon or Canon and don't look back. The real comparison is with other anamorphic sets: the Sirui Venus 1.33x lenses often score better on build and optical quality, though many of those are Super35/APS-C only, while the BLAZAR covers full frame. The Vazen anamorphic lenses are another alternative with stronger build, but they tend to cost more for a single focal length than the whole BLAZAR set. So you're trading outright image quality and durability for full-frame coverage and a three-lens kit in one box.

Steer clear if you need autofocus, optical stabilization, or weather sealing—none of that is here. Stills photographers will find the manual focus and desqueeze process a headache; you're better off with something like the Sigma Contemporary 10-18mm F2.8 or a Viltrox AF 9mm for wide-angle shots. If you're a professional expecting tack-sharp, consistent optical quality across the frame, this set will frustrate you—save up for higher-tier anamorphic options from Cooke, ARRI, or even the sharper Sirui Venus line instead.

Should you buy this? If you're a solo filmmaker or small crew chasing that anamorphic look on a mirrorless full-frame camera and you're willing to work around soft corners and plastic construction, the BLAZAR MANTIS set gets the job done. It's not going to win any sharpness shootouts, and you'll want to handle it like the budget kit it is, but the creative possibilities are real. For narrative work, music videos, or personal projects where character matters more than clinical perfection, it's a fun tool that'll make your footage stand out. Just don't expect it to survive a downpour or look flawless on a 6K monitor without some post-production massaging.