Sony FX2 Camera and BLAZAR Mantis 1.33x 35mm Anamorphic Lens Goes Daruma Dolls

by Johnnie BehiriJuly 23^rd, 2025

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We recently received the new BLAZAR Mantis 1.33x 35mm full-frame anamorphic lens to test, and we wanted to pair it with the new yet-to-be-released Sony FX2. We’ve already reviewed the new Sony, but with the BLAZER APEX 1.33x, which is an APS-C autofocus lens. To complete our testing, we asked Sony Japan to send us the FX2 again and put it through its paces.

This is not a “scientific” review of the BLAZAR Mantis lens. The above video and write-up are more of a “hands-on” experience, giving an impression of working with both the camera and lens together. I wanted to produce a “feel-good” piece, as we all deserve a brief respite from this fast-paced world. So sit back, enjoy, and as always, feedback and criticism are always welcome!

Filming location: Katsuo-ji Temple

Spending the summer in Japan opens endless possibilities to capture beautiful sights and sounds (you cicada/semi/セミ, we have an open account :) ). This time, I headed towards Katsuo-ji Temple, located on the northern outskirts of Osaka. This Buddhist temple is famous for its thousands of Daruma dolls that represent good fortune and granted wishes, earning its reputation as a “temple of winner’s luck.” Legend has it that Bodhidharma meditated so long that his limbs atrophied, hence the dolls’ round-bottomed shape and their ability to return upright after being knocked over. Now, find me a better location to film, meditate, and wish for luck all at once…

Sony FX2

I’ve already covered the Sony FX2 and had a firm conclusion (review here). To me, this is currently the most desirable compact camera in Sony’s FX line simply because of its built-in EVF. Yes, I’m fully aware of what people are saying about it, and yes, I wish it could record 50/60p in full frame (next to 120p in 4K), but when it comes to usability, especially during run&gun on a full sunny day, this camera is a winner. If technically possible, I hope that Sony will consider “upgrading” it by introducing new firmware, or better yet, introduce a new compact FX model that has the missing features but has a built-in EVF.

Also added to my “wish-list” is to ask Sony to take anamorphic filmmaking more “seriously” by allowing their compact FX line of cameras to do more than currently possible. (Anamorphic de-squeeze while keeping some sort of stabilization is something that I definitely would like to see.)

On this particular filming day, the camera sustained temperatures of 34°C (93.2°F) easily, although I did not film very long takes.

BLAZAR Mantis 35mm 1.33x T2.0 full-frame anamorphic lens

BLAZER, as a company, has been “killing it” lately. For example, I know A LOT of people who are very happy with their Remus 1.5x line of lenses. Apparently, the price-to-performance ratio is almost unmatched. Now, my personal experience working with their lenses is limited to testing the APEX APS-C autofocus anamorphic lenses (review here), and now the Mantis 35mm. And I have to say that I’m impressed (again).

BLAZAR did not have the Sony E-mount lens ready, so they sent us the PL version of it, which, of course, is not an issue if you have the PL/E mount adapter for it. Alternatively, the mount can be user swappable from native PL/ E Mount to all other Mounts without restriction. For this filming occasion, I used the SIRUI adapter, and it worked flawlessly. As this is not a “scientific” lens review but rather an impression of working with it, I can report back that it was truly enjoyable. Its size is compact. The lens weight is only 790g (.74lbs), and unlike lenses in its category from other manufacturers, the filter thread size is a common 77mm, making it very easy to work with a variable ND filter. For such a lens, the close focus distance is also fine (0.48m/1.57ft). By the way, using the Sony FX2 with its native dual ISO feature (800/4000) proved to be great also in lowlight situations, keeping the image clean as the lens itself can be opened to T2.0.

Now, next to its robustness, if you ask me what I like most about this lens, it is the ability to work outdoors wide open at T2.0. Maybe by putting it on a resolution chart, the lens will prove to be soft, but in reality, the center of it looks sharp, producing very nice images. Speaking of which, during filming, I was not chasing (amber) light strikes, as I’m of a bokeh junkie.

2x aesthetics on a 1.33x lens?

BLAZAR is promising a 2x aesthetic anamorphic look when working with those 1.33x lenses. Did it live up to this claim? Well, knowing that everyone has a bit of a different opinion, I’ll let you guys decide, but for me personally, the picture aesthetic is very pleasing to the point that I would not hesitate to use it on more demanding (look-wise) productions.

Final thoughts

At times when we are so busy trying to keep up with industry changes (AI, anybody?), tariffs, and other unrelated global craziness, my cure is to go out filming. I still very much love the ability to create a small visual story with the minimum possible equipment. Give me a small tripod, a mini slider, a camera, and preferably, an anamorphic lens, and I’m satisfied to the point of forgetting the moment. Editing the above short piece was also a pleasure, and in case you are wondering about grading, I was using fylm ai to my aid. Music courtesy of epidemicsound.com.

Feedback, remarks, thoughts, and anything in between are welcome in the comment section below