Continuing its streak of bringing unique and affordable new glass options to the filmmaking community, Laowa is launching an all-new set of lenses with a very specific skill set.
If you are a photographer or filmmaker, you’ve probably heard of tilt-shift lenses. Standard in the kits of architectural photographers in particular, but useful for a number of applications, tilt-shift lenses allow you to, well, tilt and shift the image. With regard to the “tilt” portion of that name, utilizing the tilt function allows you to shift the focus plane of a lens. Generally, light travels through a lens in a linear fashion—straightforward. So your focus plane is parallel to the sensor of your camera. Thus, everything looks normal. If you use a tilt-shift lens, you can tilt that image so that your focus plane is at an angle. One of the more popular applications is shots where you can make the real world seem as though it’s composed of toy miniatures. Likewise, you can use the technique to achieve less conventional focusing effects that can draw your audience in.
The “shift” function of a tilt-shift lens operates differently. In this case, the lens is literally shifted in one direction or another to change your physical perspective. In order to do this, the lens has to be capable of casting a wider image circle than a normal lens. Then, the operator will decide to shift the lens itself in one direction or another, effectively moving around what image the camera is capturing without moving the camera itself. A common use of this would be a photographer trying to capture an image of a tall building. Because the photographer is presumably not a giant, in order to capture the tall building, he or she will need to tilt up with their camera to fit the building into the frame. Well, if you’ve ever shot with a wide angle lens and shot up at a vertical subject, you’ll know about the keystoning effect. Your subject will recede as it gets further away. Think thick legs (closer to the camera), skinny head (farther from the camera). Same will happen with a building. Visually, you will get a curving effect of an otherwise straight building due to having to shoot from the lower perspective. A “shift” lens can allow you to lock off your camera on a tripod, then shift the way light is passing through the lens by physically shifting the lens itself. In the case of our skyscraper, you might want to shift straight up so that you are not shooting from as low of a position. The result is that you can correct some of the keystoning effects, straighten vertical lines, and have a much happier architect for a client. Less dramatic shooting angle, less distortion.
Here’s a simple example shifting up and down. The following shots were all taken with the camera locked off in the exact same position. I have then used the shift function to boom up and down without moving the position of myself or the camera. Note that the lens can also shift side to side or diagonally if you choose to do so.
The shots were taken using one of the new Laowa Shift Cine Zero-D lenses, the only shift cine lenses on the market specifically designed for filmmakers. The shift cine lenses are designed with interchangeable mounts. I got a peek at both the 15mm T/4.8 and the 20mm T/4.1 with the PL mount. But the options also include EF, RF, E, Z, and L mounts, ensuring compatibility with a variety of camera systems. This particular line has been built with mirrorless cameras in mind, making it lighter and more compact than most cinema lenses. On the models I tested, there were no filter threads, so keep in mind you’ll want to use a matte box if you want to use filtration. They are manual focus, as is customary with these sorts of lenses. This isn’t particularly “fast” glass, but with such wide focal lengths, this isn’t the type of lens you would use if shallow depth of field is your top priority. However, the lenses can be used as standard primes as well as shift lenses depending on your use case.
The "Zero" in the name stands for zero distortion and incorporates Laowa's renowned Zero-D technology, reducing the need for corrections during post-production. The lens circle is Φ65.2 mm, allowing it to be used on a variety of sensors. For large format users especially, this could make it an attractive option. The larger image circle provided by the lenses means that they can comfortably be used on cameras such as the RED V-Raptor 8K Vista Vision, the ARRI Alexa 65, or the Blackmagic Design URSA Cine 17K with larger sensors.
The lenses can also pull double duty as both shift lenses and standard primes when at their base setting. The 15mm has a minimum focus of 20 cm, while the 20mm has a minimum focusing distance of 25 cm.
Important to note, this set does not tilt, but it does shift. This is the type of lens you would use with a very specific purpose in mind. What sort of purpose, you might ask? Well, there’s the most natural application, which would be in situations where architecture is critical—either as an architectural film or in a narrative work where the environment surrounding your subject plays a key role. The lenses are capable of shifting plus or minus 11 mm to correct converging lines and help maintain distortion-free architecture.
For instance, let’s say your name happens to be Wes Anderson. And let’s say your visual approach puts great emphasis on perfectly straight compositions. Having a perfectly corrected perspective is essential. Likewise, let’s say you are not that Wes Anderson. Instead, you are Wesley Anderson, an architectural videographer from Des Moines, and you’ve just been hired to shoot footage of the newly redesigned city hall. The shift functionality could be a game changer for your approach.
Personally, I find one of the most intriguing options would be to utilize this lens to do short dolly moves in-shot. The shift of the lens is controlled by a ring closest to the camera body. You first set the direction of your shift by rotating the lens to the proper position. You can choose multiple options from 0 to 360 degrees. So, for my example, let’s say that what I’d like to do is start on a fixed two-shot of James and Janet center frame. A punchline later in the scene reveals that a third person, John, is sitting just out of frame to Janet’s left. I could put the camera on something like a Dana Dolly or a slider to make the lateral move to camera right at the end of the scene. But in doing so, I might accidentally affect position by panning or tilting just a bit without noticing. Instead, if I set my shift ring to maybe 270 degrees, then rotate the shift ring on cue, I can effectively shift perspective to the side to now include John in the shot. That is, of course, an overly simplified example. I could also shift up and down or diagonally. And the lens could be used to shift between many different subjects.
Another useful function for this lens would be in doing plates or panoramic views. Rather than needing to slide right or left, risking a potential slight shift in perspective that would make stitching two images together a chore, you could instead simply lock the camera in position, then use the shift function to include a wider area—right to left, top to bottom, diagonally. Then stitch those images together in post to form a much higher resolution final image without a shift in perspective. The possibilities are vast.
In terms of sharpness, I found the lenses to be well up to the task. In this example, I’ve shifted the lens side to side. I haven’t noticed any significant drop-off in image quality when the lens is in the offset position.
To be sure, shift lenses are specific to a certain kind of filmmaker or photographer. Not everyone needs one in their kit. But the unique capabilities of this lens and Laowa’s execution suggest this should be a strong rental consideration on your next project that calls for a more precise structure within the frame. Or, if you really are that Wes Anderson, and “precision” is really your love language, I’m pretty sure you have one of these lenses in your shopping cart already.
There are other standard (non-shift) lenses in the Zero-D line, including a set of ultrawides (9mm T5.8, 10mm T2.9, 12mm T2.9, and 14mm T2.1). The 9mm is currently the widest available on the market.
Each of the Shift Cine lenses comes in a hard case with the lens itself, shims, and basic tools. The 15mm and 20mm weigh 1,150 g and 1,170 g respectively. Both lenses will retail for $1,999, placing them at a very competitive price point in the market.
