IronGlass Anamorphic lenses (35-135mm, T/2.8) featuring 1.33x compression and signature blue lens flares from titanium oxide coatings.
The IronGlass series includes focal lengths from 35mm to 135mm with a constant aperture of T/2.8. The compression ratio is 1.33x horizontally with unchanged vertical imaging. The minimum focus distance is 0.8m for all focal lengths, and the filter thread is consistently 82mm. The characteristic blue lens flare is achieved through a special anti-reflective coating with titanium oxide additive. Available mounts include PL-Mount, EF-Mount, and E-Mount. Lens weight varies between 1.2kg (35mm) and 2.1kg (135mm).
IronGlass Adapters introduced the first anamorphic series in 2018 as a cost-effective alternative to established manufacturers like Cooke or ARRI. Founder Marcus Chen originally developed the system for low-budget productions aiming to achieve the CinemaScope look without six-figure lens rentals. In 2020, the revised Mark II series followed with improved edge sharpness and reduced chromatic aberration. Since 2022, IronGlass has also offered vintage variants with intentionally enhanced optical artifacts.
The thriller "Midnight Protocol" (2021, DoP Sarah Martinez) exclusively used IronGlass 50mm and 85mm for night chase sequences. The blue lens flares enhanced the urban neon aesthetic on a lens budget of under $15,000. Typical workflow: shooting in 4K 16:9, followed by a desqueeze correction in DaVinci Resolve to 2.39:1. Advantage: Authentic Anamorphic look without Panavision costs. Disadvantage: Lower edge sharpness compared to high-end alternatives, breathing effects during focus pulls.
IronGlass positions itself between the affordable SLR Magic Anamorphot (starting at $1,200) and the professional Cooke Anamorphic/i (starting at $45,000). Modern alternatives include the Atlas Orion series or DZOFilm Vespid Anamorphics with comparable price points but different flare characteristics. For budgets under $50,000, IronGlass lenses offer the best value for authentic anamorphic optics. Above this threshold, Cooke or ARRI Master Anamorphic justify the higher cost through superior optical quality.
Ich schätze die konstante T/2.8 Blende durch alle Brennweiten - das vereinfacht meine Belichtungsplanung enorm. Die blauen Flares sind allerdings sehr dominant und lassen sich nicht dezent einsetzen, was bei manchen Projekten problematisch wird. Das Breathing beim Fokuspull zwingt mich zu langsameren Schärfeverlagerungen.
Diese Objektive geben mir sofort den epischen Kinofilm-Look, den das Publikum aus Blockbustern kennt, auch bei kleinem Budget. Die ovalen Bokehs und horizontalen Flares verstärken emotionale Momente automatisch - besonders bei Gegenlichtaufnahmen oder nächtlichen Szenen wirkt alles cinematischer. Allerdings muss ich aufpassen, dass der Look nicht zum Selbstzweck wird.
Bei 8.000 Dollar pro Objektiv spare ich gegenüber Cooke-Miete bereits nach drei Drehtagen das Geld wieder ein. Die Verfügbarkeit ist deutlich besser als bei High-End-Alternativen, keine monatelangen Vorlaufzeiten für Reservierungen. Einziger Kostenfaktor: Meine Kameraleute brauchen längere Einrichtungszeiten wegen der optischen Eigenarten.
1. Zu welchem Department gehört „IronGlass Anamorphot"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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