Sirui 20mm T1.8 1.33X Anamorphic
Featuring an integrated STM autofocus motor and a T1.8 aperture, this 20mm lens delivers a 1.33x anamorphic squeeze for a 2.35:1 widescreen image on APS-C sensors without cropping. At just 480g with an AF/MF switch and eye-tracking, it uniquely pairs cinematic character with gimbal-friendly, run-and-gun practicality. This lens is ideal for independent filmmakers and handheld shooters on Nikon Z-mount cameras who demand anamorphic aesthetics with reliable, quiet autofocus.
关于此Lens
Featuring an integrated STM autofocus motor and a T1.8 aperture, this 20mm lens delivers a 1.33x anamorphic squeeze for a 2.35:1 widescreen image on APS-C sensors without cropping. At just 480g with an AF/MF switch and eye-tracking, it uniquely pairs cinematic character with gimbal-friendly, run-and-gun practicality. This lens is ideal for independent filmmakers and handheld shooters on Nikon Z-mount cameras who demand anamorphic aesthetics with reliable, quiet autofocus.
- Focal length 20mm
- Max aperture 22
- Mount Nikon Z
- Stabilization
- Weight g 480
- Af type STM
- Lens type prime
The 30-Second Version
The Sirui 20mm T1.8 1.33X anamorphic brings autofocus to budget cine glass, and it works well. Its autofocus and stabilization scores are top-notch, but optical and bokeh performance lag behind. At the $599 street price, it's a fantastic buy for video creators who want that widescreen look without manual focus headaches.
Overview
The Sirui 20mm T1.8 1.33X anamorphic is a lens with a pretty specific mission: give you that widescreen cinematic look without breaking the bank, and do it with autofocus. It's built for APS-C and Super 35 sensors, squeezing a 1.33x image into a 16:9 frame for a final 2.35:1 aspect ratio. That's the kind of thing that used to cost a lot more and require manual focus pulling. So right away, Sirui is shaking things up. It's also light, compact, and the T1.8 aperture means you can shoot in less light and still get some background separation.
But this isn't a do-everything lens. Our database scores tell the story: autofocus performance is genuinely impressive (87th percentile among similar lenses), and stabilization holds up well too. However, optical quality and bokeh land in the bottom fifth. That means the sharpness and rendering for stills won't wow you, and the anamorphic character isn't as pronounced as some purists want. For video, though, the overall package makes a lot of sense if you know what you're signing up for.
Performance
Autofocus is the star here. It's fast, quiet, and accurate, easily one of the best reasons to pick this lens. The STM motor tracks faces and eyes without hunting, which is rare for anamorphic glass. Stabilization is above average too, good for handheld run-and-gun work. But optically, this isn't a chart-topper. Sharpness is decent but not exceptional, and the bokeh falls behind most prime lenses in our database. The anamorphic flares are mild and controllable, which some will love and others will find underwhelming. If you're after a strong, vintage anamorphic vibe, this feels a little too clean.
Pros & Cons
Pros
- Fast, reliable autofocus that works great for video. 86th
- Lightweight and gimbal-friendly at just 480g. 80th
- Delivers a genuine 2.35:1 cinematic aspect ratio straight out of camera.
- Wide T1.8 aperture helps a lot in low light.
Cons
- Optical sharpness struggles for photography use. 13th
- Anamorphic character is subtle, not super punchy. 17th
- No weather sealing means you'll worry in bad weather. 20th
- Bokeh quality is below average for a T1.8 prime. 31th
The Word on the Street
Specifications
Full Specifications
Optics
| Type | prime |
| Focal Length Min | 20 |
| Focal Length Max | 20 |
Aperture
| Max Aperture | 22 |
| Min Aperture | 1.8 |
| Constant | Yes |
Build
| Mount | Nikon Z |
| Format | APS-C |
| Weight | 0.5 kg / 1.1 lbs |
AF & Stabilization
| AF Type | STM |
| Stabilization | Yes |
Focus
| Min Focus Distance | 400 |
Value & Pricing
We've seen price swings from $599 to some truly absurd listings near $99,000, but the real price you should pay is around $599. At that level, this is the most affordable autofocus anamorphic lens on the market. You're getting a specialized cinematic tool for less than a lot of standard zooms. If you find one at that price, it's a steal. The value tanks quickly above $800, so shop smart. For video creators on a budget, this is one of the easiest recommendations we can make, provided you're okay with its photographic shortcomings.
vs Competition
Stack this against wide-angle competitors like the Nikon Z 18-140mm or Canon RF-S 18-150mm, and the Sirui is in a different universe. Those zooms are versatile, sharp for photos, and cover a huge range, but they'll never give you an anamorphic look. The Sigma 10-18mm f/2.8 and Viltrox 9mm f/2.8 are both wider and faster for stills, but again, zero anamorphic squeeze. If you want that widescreen video style with autofocus and don't want to spend thousands, the Sirui stands alone. Just know you're trading optical perfection and versatility for that specific cinematic flavor.
| Spec | Sirui 20mm T1.8 1.33X Anamorphic | Sigma Contemporary 16-300mm F3.5-6.7 DC OS | Canon L RF 15-35mm F2.8 L IS USM | Viltrox AF 56mm f/1.7 | Meike Neo Series MK-5514STM-Z | Panasonic LUMIX S S-R28200 |
|---|---|---|---|---|---|---|
| Focal Length | 20mm | 16-300mm | 15-35mm | 56mm | 55mm | 28-200mm |
| Max Aperture | 22 | f/1.4 | f/2.8 | f/1.7 | f/1.4 | f/4 |
| Mount | Nikon Z | Sony E | Canon RF | Fujifilm X | Nikon Z | L-Mount |
| Stabilization | true | true | true | true | true | true |
| Weather Sealed | false | true | true | false | false | true |
| Weight (g) | 480 | 1089 | 840 | 171 | 280 | 413 |
| AF Type | STM | HLA | Nano USM | STM | STM | Autofocus |
| Lens Type | prime | zoom | zoom | prime | prime | macro |
| Compare | Compare | Compare | Compare | Compare |
| Product | Af | Bokeh | Build | Macro | Optical | Aperture | User Sentiment | Versatility | Social Proof | Stabilization |
|---|---|---|---|---|---|---|---|---|---|---|
| Sirui 20mm T1.8 1.33X Anamorphic | 85.9 | 13.4 | 35 | 57.5 | 16.9 | 20.3 | 30.8 | 34.4 | 44.7 | 79.5 |
| Sigma Contemporary 16-300mm F3.5-6.7 DC OS Compare | 53.2 | 94.2 | 33.8 | 84.4 | 98.9 | 94.4 | 0 | 99.7 | 89.6 | 99.1 |
| Canon L RF 15-35mm F2.8 L IS USM Compare | 94.1 | 79.4 | 43.8 | 70 | 90.4 | 76.9 | 80.3 | 76.7 | 89.6 | 96.5 |
| Viltrox AF 56mm f/1.7 Compare | 85.9 | 91.7 | 85.6 | 94.1 | 69.8 | 91 | 63.8 | 34.4 | 89.6 | 79.5 |
| Meike Neo Series MK-5514STM-Z Compare | 85.9 | 94.2 | 73.1 | 94.4 | 51.1 | 94.4 | 80.3 | 34.4 | 89.6 | 79.5 |
| Panasonic LUMIX S S-R28200 Compare | 53.2 | 69.3 | 73.8 | 87.4 | 91.4 | 62.5 | 0 | 95.9 | 89.6 | 99.5 |
Common Questions
Q: Does this lens cover full-frame sensors?
No, the image circle is designed for APS-C and Super 35 sensors. On full-frame you'll get heavy vignetting and lose the anamorphic effect.
Q: Can I use this for photography, or is it strictly video?
You can shoot photos, but the optical performance and sharpness aren't as strong as dedicated photo primes. The anamorphic squeeze also means you'll need to de-squeeze images in post for a normal look.
Q: How reliable is the autofocus for video?
Very reliable. The STM motor is smooth and quiet, and it tracks eyes and faces well, making it one of the few anamorphic lenses you can trust for solo video work.
Who Should Skip This
Skip this if you're a stills photographer who needs razor-sharp images, or if you want a super strong, vintage anamorphic look with heavy blue flares and dramatic distortion. Look at manual focus anamorphic options from Sirui or other brands instead, because this one plays it a little too safe on character. Also pass if you shoot full-frame, since the image circle won't cover your sensor.
Verdict
This lens is for video shooters who dream of anamorphic footage but don't have a Hollywood budget. The autofocus alone makes it a unique entry, and the image have a lovely, filmic quality that stands out from clean digital glass. If you're a photographer first, or you need the most extreme anamorphic character, you'll be disappointed. But for the right person, it's a killer little lens that can live on your camera for narrative work, music videos, or anything that benefits from that wide, cinematic frame.