More focal lengths (65mm and 80mm) will be introduced later this year.

Moving Forward

Both imperial and metric scale are printed on the lens body.

Dual Scale

Filmmakers could fine tune the back focus quickly by a 0.9mm hex key (included in the package), which ensures the scale is still accurate and aligned after changing cameras. Watch the tutorial here.

Flange adjustment

Industry standard 0.8 mod gear is installed on both aperture and focus rings.

0.8 Mod Gear

55mm filters can be attached directly on the lens which filmmakers can combo a handy set-ups. It is favorable when doing a Run-And-Gun shot or flying it with a drone.

55mm filter thread for screw-in filters

The unified gear position allows users to switch lenses quickly and without readjustment on the focus gear.

Unified gear position

For Mirrorless version, Canon RF, Sony E, M43, DJI DL, Nikon Z, L mount and Fuji X are available and they are also interchangeable. Each lens will come with ONE single mount bayonet and you may add $50 for extra bayonet mounts into your Perk. Tutorial

For EF/PL version, Both EF & PL Mounts are included in the box and the mounts are user inter-changeable.

We currently offer 2 different versions of Nanomorph. Mirrorless version &EF/PL version,

The anamorphic blocks are put behind the spherical elements and the focusing groups. These two groups compress the image, and hence the smaller anamorphic blocks can be used, which makes the lens tinier. Moreover, the image is formed and focused before the anamorphic blocks which maintains a constant squeeze ratio no matter if the focus changes.

For cheaper anamorphic lenses, anamorphic mumps made the lens un-usable at a closer distance (e.g. a 1.8x lens will become 1.62x when focused at 0.7m). For more professional designs out there, the lens is bulky and costs a fortune. That’s the reason why Laowa decided to develop and invented this unique patented anamorphic design to guarantee a uniform squeeze ratio,promising optical quality, tiny size and affordable price which solves the struggles of every anamorphic user.

In some cheaper anamorphic lenses with synchro focus design in the market, the squeeze ratio varies when focus close and hence changes the actual size of the subject. That’s what we called anamorphic mumps. There is no way to correct in post and is not usable in professional shootings. Our Nanomorph guarantees a constant squeeze ratio at ALL focusing distance.

NO ANAMORPHIC MUMPS

© David Tergemina – Trg.prod – 35mm T2.4 1.5x

© Rawspektiv – 35mm T2.8 1.5x

Nanomorph 50mm T2.4 1.5x Cine – 70cm / 27.5″

Nanomorph 35mm T2.4 1.5x Cine – 60cm / 23.6″

Nanomorph 27mm T2.8 1.5x Cine – 43cm / 16.9″

(From the subject to sensor)

Anamorphic lenses tend to have longer closest focusing distance due to restriction of optical design. Nanomorph has one of the Shortest Close Focusing Distance among all anamorphic lenses in the market. Filmmakers could obtain a very close-up shots which renders much shallower depth of field and stronger bokeh. This offers a much higher flexibility in framing.

A 1.5x squeeze ratio gives a stronger sense of compression and bokeh of more oval.

© Alexandru Don – 50mm T2.4 1.5x

© David Tergemina – Trg.prod – 35mm T2.4 1.5x

© Alexandru Don – 50mm T2.4 1.5x

A 1.5x squeeze ratio also renders stretched oval bokeh which gives an artistic touch to the image.

Nanomorph 50mm

Nanomorph 35mm

Nanomorph 27mm

Three Focal Lengths

Anamorphic Lens offers a more wider horizontal field of view and shallower depth of field than spherical lenses.

Spherical lens vs Anamorphic lens

With a 1.5x squeeze, you will have a 2.66:1 on a 16:9 sensor after de-squeeze. Comparing to 1.33x anamorphic lens, Laowa Nanomorph delivers a much more pronounced anamorphic & cinematic look. For 1.8x/2x squeeze, the lens will become huge and a lot more image will be wasted when pairing with 16:9 sensor.

From 16:9 to cinematic 2.4:1 widescreen

© Cammackey

© Rawspektiv

2 Flares options are available, Blue & Amber. Anamorphic lenses with blue flares are very common in the market and they fit perfectly with a sci-fi and cooler vibe . However, they do not necessarily go well with human skin tones. The new amber option we introduced, could deliver a warmer and passionate vibe which is suitable for narrative and day/night shots.

See the coverage testing on Full Frame.

The lens is specially designed for Super35 (APS-C) & Micro Four Thirds sensors. But the larger than S35 coverage of the Nanomorphs allows the lens to be used on Full Frame cameras like Sony A7siii 4K 16:9 with only mild vignetting. (Check Alexandru’s footage above)

Handheld with no stabilization

Compatible with DJI Ronin 4D

Most anamorphic lenses in the market cannot be lifted on drones with the weight limitations. This compactness of Nanomorph series opens up new possibilities and options for drone pilots.

Anamorphic lenses are always Huge and Heavy. This revolutionary “NANO-sized” lens weighs less than 0.7 lbs (320g) and is only 3.54″ (9cm) long, making it very handy for every set-up e.g. handheld, on a gimbal, on a slider, through tight space, even on a drone, etc. It makes a lot of formerly impossible shots possible.

Anamorphic lenses are frequently used by big-budget Hollywood productions to achieve the cinematic widescreen perspective. Oval bokeh, horizontal flares and shallower depth of field are aesthetics which add a cinematic and artistic touch to your film.