Blazar Talon 1.5x AF Anamorphic Lenses: World's First Autofocus Anamorphic System

By BlockReel Editorial Team Cinematography, Gear February 2, 2026

Blazar Talon 1.5x AF Anamorphic Lenses: World's First Autofocus Anamorphic System

Forget the endless debates about 1.33x versus 1.8x; the real conversation piece in anamorphic glass just landed, and it's got autofocus. Look, the idea of an anamorphic lens that practically anyone can run-and-gun with has been a bit of a pipe dream. Anamorphic has always been about character, sure, but also about a certain deliberate pace, a dance between the AC, the lens, and the subject for every pull. Blazar, though, seems intent on shaking up that tradition with their new Talon 1.5x AF series. They're claiming the world's first autofocus anamorphic with a 1.5x squeeze factor, and if it delivers, that's genuinely interesting territory.

For years, the accessible anamorphic market has been a bit of a trade-off. You either got affordable manual focus lenses that delivered a great look (but demanded precise, often slower, operation), or you got autofocus anamorphic lenses that sacrificed some of that characteristic squeeze, typically sitting at 1.33x. That 1.33x squeeze, while offering a taste of the anamorphic aesthetic (subtle oval bokeh, a hint of flare) rarely provided the pronounced visual impact that many DPs chase (and that 2x glass delivers). Now, Blazar's Talon series steps in, attempting to combine the best of both worlds: that coveted 1.5x squeeze and the workflow efficiency of autofocus. This isn't just about convenience; it's about potentially expanding where and how anamorphic can be used on a production.

Bridging the Gap: Where the Talon Fits

Blazar isn't new to anamorphic, and placing the Talon within their existing lineup helps clarify its market positioning. Their Remus series, for instance, offers 1.5x manual focus (MF) lenses, revered for their classic character and full-frame coverage. Then you've got the Mantis (1.33x squeeze, MF) and the Apex (1.33x squeeze, AF), with the Apex previously holding the 'world's first AF anamorphic' title, albeit limited to Super 35/APS-C and a more subtle squeeze. For the purists chasing 2x, there's the Cato series (MF, full-frame).

The Talon series (35mm, 50mm, 75mm focal lengths initially) is designed to fill a very specific, and until now, vacant niche. It's full-frame, it's 1.5x squeeze, and critically, it's autofocus. This combination directly addresses the pain points of filmmakers who:

- Want a more pronounced anamorphic look than 1.33x provides, but find 2x too specialized or challenging for certain projects.

Need the speed and precision of autofocus for dynamic shooting scenarios (e.g., documentary, action, fast-paced commercial work, handheld where an AC might struggle).

Are working with smaller crews where a dedicated first AC for complex anamorphic pulls isn't feasible.

Are shooting on full-frame mirrorless cameras and want to take full advantage of their sensor size while retaining anamorphic character.

This isn't just an incremental update; it's a fundamental shift in accessibility for a specific aesthetic. Think about run-and-gun documentary work where you're constantly adapting to unpredictable subject movement. Traditionally, anamorphic would be a non-starter there, or at least a significant compromise in coverage and efficiency. If Blazar's AF system (currently available in Sony E-mount) can keep up, it broadens the scope of anamorphic application considerably.

The Optical Engineering Behind the Squeeze

Achieving a 1.5x squeeze anamorphic look with autofocus (and keeping it compact, under 690g per lens) is no small feat of optical engineering. Anamorphic lenses, by their nature, involve complex cylindrical elements that introduce optical characteristics like oval bokeh, characteristic flares, and field curvature. Integrating an autofocus mechanism that can precisely move these elements while maintaining image quality and the anamorphic "look" is a technical challenge.

Blazar states the Talon 1.5x AF series covers a full-frame 36x24mm image circle, making them suitable for most modern mirrorless cameras. All three initial focal lengths are listed with a T2.1 maximum aperture. The interesting claim here, as outlined in official announcements, is that despite the 1.5x squeeze, the lenses are designed to deliver a visual character closer to that of a 1.8x anamorphic. This implies a careful balance of spherical aberration control, lens coatings, and the design of the anamorphic elements to maximize the aesthetic qualities often associated with higher squeeze ratios, without actually having a higher squeeze. For DPs, this could mean getting more pronounced oval bokeh and horizontal flares than typically expected from 1.5x glass, which is a desirable trait since lenses like the Kowa Anamorphics were (and still are) highly sought after for their organic, slightly softer 2x image. The question, of course, is how much of that 1.8x "feel" translates in practice, and how cleanly the image holds up across the full-frame sensor.

Autofocus Dynamics in Anamorphic Production

The elephant in the room for any anamorphic lens, especially a 1.5x squeeze, that boasts autofocus is, well, the autofocus itself. Anamorphic lenses are notoriously difficult for AF systems due to their unique optical properties. The non-linear compression of the image, the barrel distortion, and the often softer edge performance can all confuse traditional autofocus algorithms that are primarily designed for spherical optics.

Blazar has a precedent with their Apex 1.33x AF lenses for Super 35, and while those performed adequately for their intended purpose, scaling that performance to full-frame and a higher 1.5x squeeze is a different beast. Autofocus performance is paramount here, especially for the types of agile shooting scenarios the Talon is intended for. We're talking about:

- Accuracy: Can it consistently hit critical focus, especially on moving subjects or when changing focus distances rapidly? A slight miss with anamorphic is far more noticeable than with spherical glass, given the depth of field characteristics.

Speed: How quickly can it acquire and track focus? This is crucial for capturing spontaneous moments or maintaining focus during complex camera movements (e.g., on a gimbal, drone, or handheld).

Consistency: Does the autofocus "hunt" or breathe excessively? Focus breathing is a common issue with many lenses, but exaggerated breathing on an anamorphic lens can be particularly distracting due to the horizontal distortion. Ideally, the mechanical design minimizes this during AF operation.

Integration: While explicitly stated for Sony E-mount, how well does the lens communicate with Sony's advanced autofocus systems (like Real-time Tracking and Wide Area AF)? Will DPs be able to rely on features like face detection and eye AF as seamlessly as they do with native spherical lenses?

These are not trivial concerns. For a working professional, the promise of AF is only as good as its reliability on set. An AF system that constantly loses focus or breathes distractingly is more of a hindrance than a help, potentially costing valuable production time. The claim of "fast, precise autofocus performance" needs to be rigorously tested in various real-world scenarios to truly validate its utility.

Compact Portability and Operational Workflow

One of the undeniable benefits of this new series is its stated compact form factor. Weighing under 690g (each lens), these are significantly lighter and more manageable than many traditional anamorphic options. This has several immediate workflow implications:

- Gimbal and Drone Use: Lighter lenses make it easier to balance and operate on smaller gimbals and drones, expanding the creative possibilities for dynamic, stabilized anamorphic shots. Many anamorphic lenses are simply too heavy for prevalent mirrorless gimbal setups. Pairing them with something like the DJI Unveils RS 5 Gimbal: Revolutionizing On-Set Stabilization with AI Tracking and Rapid Charging could yield a very compelling, highly mobile package.

Handheld Shooting: For documentary filmmakers, DPs working with smaller cameras, or even for narrative sequences requiring an intimate, immediate feel, the reduced weight and autofocus capability could be a game-changer. It means less fatigue for the operator and less concern about drifting focus.

Solo Operators/Small Crews: Reducing the need for a dedicated first AC on anamorphic shoots significantly cuts down on crew size and associated costs, making anamorphic a more viable option for independent productions or budget-conscious projects.

Faster Setup Times: Lighter lenses are generally quicker to swap and balance, improving efficiency on set, especially when frequently changing focal lengths or setups.

This push towards more compact, versatile lenses aligns with a broader industry trend towards smaller camera packages and more agile production styles. The Sony Announces Major Firmware Updates for VENICE 2, BURANO, FX6, and FR7 Cameras illustrates how manufacturers are constantly refining and improving the capabilities of their smaller cameras to suit these evolving needs.

Iris, Close Focus, and Mount Options

Beyond autofocus, the specifics of iris design and close focus are crucial for anamorphic lenses. Blazar's announcement mentions a T2.1 maximum aperture. A fast aperture is always welcome for anamorphic, which inherently has a shallower depth of field (especially vertically) than spherical lenses at equivalent focal lengths and T-stops. The quality of the oval bokeh, a hallmark of anamorphic, will depend heavily on the iris blade design and how it renders out-of-focus highlights.

Close focus capabilities also warrant attention. Anamorphic lenses often have longer minimum focus distances compared to their spherical counterparts due to the complex optical path. If the Talon series can achieve reasonably close focus (detailed specifications would confirm this), it further enhances their versatility for intimate shots or capturing finer details with anamorphic character.

Currently, the Talon series is launching in Sony E-mount, a strategic choice given Sony's strong position in the mirrorless camera market. However, for a professional tool, the availability of other mounts (PL or LPL, perhaps with an adapter or future native options) would be essential for broader appeal, allowing seamless integration with cinema cameras like ARRI ALEXA Mini LF or RED Komodo/V-Raptor. The open gate question is also relevant for some DPs; a lens designed for full-frame 1.5x squeeze usually implies careful consideration of sensor coverage and vignetting characteristics, especially for cameras with larger-than-standard 16:9 full-frame sensors.

The Broader Impact on Anamorphic Storytelling

Autofocus anamorphic with a 1.5x squeeze isn't just a technical achievement; it could democratize access to a distinct cinematic aesthetic that has historically been confined to larger productions or specialized crews. By mitigating some of the operational complexities, Blazar is inviting a wider range of filmmakers to experiment with anamorphic.

Consider the potential for narrative projects that require a more dynamic, handheld, or quick-reaction approach, but still crave the epic scope or emotional intimacy that anamorphic can provide. Think about music videos, high-end corporate films, or even certain independent features where the budget doesn't allow for a full first AC team dedicated to anamorphic pulls. This lens could unlock new visual possibilities for these productions.

However, it's also important to maintain a sober perspective. Anamorphic always involves trade-offs. While AF offers convenience, it can't replicate the specific tactile feel and nuanced artistry of a skilled first AC's focus pull. The "look" of anamorphic (the breathing, distortions, flares) is also not to everyone's taste and requires a deliberate artistic decision. Blazar's claim of a 1.8x visual character from a 1.5x squeeze sounds promising, but the proof will be in the footage, particularly how well it performs wide open and how pleasantly it renders aberrations.

Ultimately, the Blazar Talon 1.5x AF lenses represent a significant step in the evolution of accessible anamorphic tools. They offer a compelling blend of aesthetic desirability and practical on-set functionality. As DPs continue to seek distinctive visual signatures and more efficient workflows, these lenses could carve out a vital niche, allowing the unique cinematic magic of anamorphic to shine in a broader array of productions.

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Originally published on BlockReel DAO.