SIRUI was showing the new Saturn V2 anamorphic set at IBC 2026, and the headline feature is one you have to see rather than read about: a locking barrel that rotates 90 degrees, switching the lens from horizontal to vertical anamorphic shooting without removing it from the camera. Newsshooter already has the full spec and pricing post on the Saturn V2.
What it is
The Saturn V2 is a rehoused, re-optimized version of the original Saturn, released more than five years ago. It keeps the same size, weight, and 1.6x squeeze at T2.9 that made the original popular for gimbal and drone work, and adds the rotating barrel as the headline new feature.
Alberto said the idea came directly from watching people shoot vertical anamorphic content with other anamorphic lenses not built for it, unscrewing the mount, physically rotating the barrel, and screwing it back on to reorient the flare axis. On the Saturn V2, that’s now a single unlocked twist.
Why it exists
SIRUI’s pitch is straightforward: anamorphic flare and aspect ratio are horizontal by convention, but a growing share of what gets shot, social reels especially, is vertical. Rather than treating that as an either/or choice, the rotating mount lets a shooter keep the anamorphic look (flare orientation included) while switching formats mid-shoot, without swapping lenses or breaking down the rig.
On the show floor
Alberto ran the rotation live on camera: unlock, twist 90 degrees, lock, and the barrel is in vertical orientation with the flare axis rotated along with it. It’s a single motion, not a multi-step remount. He also pointed out the lens’ focus damping (smooth, doesn’t loosen with use) and a deliberately stiffer iris ring, so the iris doesn’t shift accidentally during handling the way focus might.
Look and flare
Where the original Saturn had a blue-streak flare character, Alberto said SIRUI moved to a neutral flare for the V2, on the reasoning that blue streaks read as a specific sci-fi look that not every project wants. A neutral flare takes on the color of whatever light source it’s pointed at instead, and still takes a filter if you want to push it toward a specific color.
Mounts and the set
The three lenses (35mm, 50mm, and 75mm, all T2.9) ship in Sony E, Leica L, and Canon RF mounts. Alberto noted SIRUI mounted the 35mm on an RF-mount camera for the demo specifically to show the set actually being used on Canon’s mount, which sees less native support from third-party anamorphic glass than E-mount does.
Price & availability
The 3-lens set is $1,699 USD via B&H, per Newsshooter’s earlier post. Individual lenses run roughly $600 USD each, with availability in about two to three weeks from IBC.
