A new line of full-frame anamorphic lenses has just hit the market. Get ready for the Venus Optics Laowa Nanomorph T2.9 1.5x LF Anamorphics.
Anamorphic lenses have long been a staple of filmmakers looking to add scope and scale to their productions. They were originally introduced to take better advantage of the full resolution (or detail, as analog isn’t really about “resolution”) by capturing the full film frame to be desqueezed later. Shooting anamorphic, as opposed to shooting spherical and just cropping, allowed filmmakers to preserve the maximum amount of picture information while still achieving a widescreen end result. Over the years, some of the side effects of the anamorphic process have become subconsciously associated with a big-budget blockbuster look—things like characteristic streaking flares and oval-shaped bokeh. For that reason, from the analog world to the digital one, filmmakers have often chosen anamorphics to give their productions that extra punch.
But budgets are budgets, and, historically, shooting anamorphic has always come with a hefty price tag in addition to the added complexity of managing the desqueeze process. Thankfully, all that is starting to change. It’s now incredibly simple to desqueeze in pretty much any NLE. Moreover, in recent years, lens manufacturers have begun to produce lower-cost alternatives for anamorphic filmmakers, and one of the companies leading the way is Venus Optics Laowa.
I’ve only recently started trying out the Laowa lens options. I got my hands on the Laowa Sword Macro Cine Lenses a couple weeks ago. And this time out, I got my hands on the four lens set of the 1.5x full frame Nanomorph T2.9 1.5x LF Anamorphics to put through the ringer.
A little about the lenses before we begin. At launch, the lenses come in five focal lengths. The 32mm, 42mm, 55mm, 60mm, and 85mm. The kit I tested included all except the 60mm. One of my favorite things about the lens set is that you can choose the color of flare you prefer. They come in amber, blue, or silver (neutral) flare options. I went for the neutral. If I were buying this set, I might opt for the neutral, as it allows more flexibility in various shooting scenarios. However, the more color-specific options are amazing if you have a very particular look in mind for a project. So, when renting the set, the ability to choose your flare offers major advantages.
The lenses are a consistent T2.9 across the lineup. I wouldn’t mind them being a little faster. In my test shoot, which we’ll get to in a moment, I shot a night scene, and there were definitely some times I would have loved to be able to open up a little more. With that said, the Sony Venice we were shooting on can see in the dark, and even with most modern cinema/mirrorless cameras, T2.9 is plenty fast enough to expose the sensor in most situations.
The lenses cover full frame sensors and beyond—16:9, 3:2, Open Gate. You’re likely to cover your image sensor with these. I tried them on multiple cameras in crop and full-frame modes, from 2K to 8K, and didn’t see any vignetting. The lens set I used was the PL-mount version, which is the default. The lenses also come with swappable ARRI PL and Canon EF mounts, and they are compatible with MOFAGE POCO drop-in filters for faster operation in the field.
There’s a constant 1.5x desqueeze ratio across the line. The exact math will vary depending on your specific shooting setup. However, 1.5x desqueeze on a 16:9 sensor results in an aspect ratio of approximately 2.66:1 when desqueezed. For those new to anamorphic lenses, note that not all cameras can desqueeze in-camera. For many mirrorless cameras, you’ll want to mount a monitor capable of squeezing anamorphic to preview your composition accurately. Higher-end cameras often offer this option without the need for an external monitor.
Most cinema lenses are judged on a spectrum from “clinical” to “character.” Clinical lenses are mathematically perfect, while character lenses may have imperfections that lend a unique look to the image. In my testing, I’d say the Nanomorphs lean toward clinical. The image is very clean right out of the camera. This might sound boring, but the advantage of a clinical lens is that it gives you the option to add character in post-production. With a clean lens, you start with a pleasing image right out of the box.
My review is a couple of days late because I couldn’t shoot my test project until this week. For my reviews, I prefer field testing the product rather than shooting test charts. Thankfully, I assembled a small team of filmmakers to help with this shoot, allowing me to gather additional impressions.
My team appreciated the low focus breathing on the lens. We were able to handle deep focus racks without distracting shifts in perspective. The lens has a 270-degree focus throw and a 77mm filter thread across the line. They are small and lightweight. I especially appreciated this when testing the lenses on a mirrorless camera. They form a compact, easy-to-operate package for solo shooters. Even in a team setting with a larger cinema body and a focus puller, the lower weight was still appreciated.
This trial has definitely made me want to add this set to my kit. The size is ideal for a solo shooter, and the clean image quality was a joy. I particularly liked the neutral flares, which gave me more flexibility in lighting. The focus markers are in both feet and meters (on opposite sides), which is helpful for those of us less familiar with the metric system. For my film, I used the 85mm lens for most of the shoot. Keep in mind that in anamorphic lenses, the height and width aren’t equivalent to their spherical counterparts. So, 85mm offers a wider view than expected. I’d love to see the company offer even longer lenses, like 100mm or 150mm. I was also impressed by the minimal focus distances. For the lenses I tested, the 32mm, 42mm, 55mm, and 85mm had minimum focus distances of 19 inches, 20 inches, 22 inches, and 39.4 inches, respectively.
Pros
- Size
- Price
- Clinical image quality
- Solid construction
- Multiple flare options
- Smooth focus throw
- Consistent gearing
- Clean look straight out of the camera
Cons
- Could be faster than T2.9
- Hope they will add an even longer lens to the line in the future
Conclusion
I thoroughly enjoyed working with this lens set. Regardless of price, I see this set becoming a popular option for filmmakers. With each lens retailing for $1,500 individually (except for the 60mm, which is $1,999), many owner-operators will likely purchase them. The four-lens set I tested retails for $5,399—a solid value for a versatile set of lenses with wide-ranging applications.
