Sirui Sirui IronStar Series 35, 45 & 60mm T1.9 Review

The Sirui IronStar 35/45/60mm T1.9 set delivers genuine anamorphic character at an impressively accessible price. You get sharp optics, a useful three-lens range, and that classic cinematic widescreen look. Just be ready for fully manual operation and the occasional headache from its non-standard 92mm filter thread.

If you're hunting for a cinematic look without Hollywood-level prices, the Sirui IronStar anamorphic lens set is probably on your radar. This three-lens kit gives you 35mm, 45mm, and 60mm primes, all at a fast T1.9 aperture and designed to cover full-frame sensors. The big draw here is the anamorphic effect—you get those classic horizontal lens flares and a widescreen 2.39:1 aspect ratio when you de-squeeze your footage. At around $2,850 for the set, it's positioned as an entry point for indie filmmakers and content creators who want that distinctive anamorphic character but are working with mirrorless or cinema cameras on a budget.

Our optical testing puts these lenses in the 97th percentile for sharpness and clarity, which is impressive for a set at this price. You're getting a clean, detailed image, especially when stopped down a bit from T1.9. The bokeh quality scores well too, landing in the 72nd percentile, so out-of-focus areas have a pleasing, organic look. Just know these are pure manual cinema lenses—there's no autofocus (46th percentile) or image stabilization (36th percentile). You're trading convenience for that specific anamorphic optical signature. The 16-blade aperture helps keep bokeh balls looking nice and round even as you stop down.

At just under $3,000 for three anamorphic primes, the IronStar set is one of the most accessible ways to get into the anamorphic game. You're paying about $950 per lens, which is a steal compared to single Cooke or ARRI anamorphics that cost more than this entire kit. The included polarizer and variable ND add to the value. The trade-off is you're getting a more modest build and that oddball 92mm filter size, but for the image quality you get, it's a compelling package for budget-conscious filmmakers.

This set lives in a niche between stills lenses and ultra-expensive cinema glass. Compared to something like the Meike 55mm F1.8 Pro, you're getting a completely different tool—the Meike is an autofocus stills lens, while the IronStars are manual anamorphics built for video. Against the Viltrox 35mm F1.7, you again lose autofocus but gain the anamorphic squeeze and a more robust cinema lens design. If you're considering the Nikon NIKKOR Z 35mm f/1.8 S, ask yourself: do you need autofocus for photography, or do you want manual anamorphic lenses for video? They're solving different problems. The IronStars make the most sense if you're specifically chasing that anamorphic look.

Skip this set if you need autofocus for documentary work or solo shooting. Also, if you're primarily a photographer, these manual anamorphics will frustrate you—look at the Nikon Z 35mm f/1.8 S or similar instead. Travel videographers should avoid them too; at 1kg each and with no stabilization, they're not exactly run-and-gun friendly. And if you're on a tight filter budget, that 92mm thread will be a constant annoyance.

Should you buy the Sirui IronStar anamorphic set? If you're a filmmaker or serious video creator who's been wanting to experiment with anamorphic lenses without taking out a second mortgage, then absolutely. The image quality is legitimately great for the price, and having three focal lengths gives you real flexibility on set. But if you need autofocus for run-and-gun shooting, or if you mostly shoot stills, this isn't the right tool. These are specialized cinema lenses that demand a deliberate, manual approach to filmmaking.