Laowa has unveiled its Nanomorph 1.5x LF Anamorphic series, designed to cater to filmmakers seeking full-frame anamorphic lenses at a competitive price point. Promising professional-grade optical performance, the Nanomorph LF lineup introduces compact, lightweight lenses with a consistent 1.5x squeeze ratio and customizable flare options. Here’s a detailed look at what these lenses bring to the table.
Key Features and Specifications
The Nanomorph series consists of four focal lengths: 32mm, 42mm, 55mm, and 85mm, all with a constant aperture of T2.9. Each lens is built with a full-frame image circle (Ø44.71mm), making them suitable for high-resolution cameras like the ARRI Alexa LF and other full-frame sensors. The consistent 1.5x squeeze ratio results in a true cinematic widescreen aspect ratio (2.66:1 on a 16:9 sensor), enhancing the anamorphic aesthetic.
Highlights of the Series:
Beyond Full-Frame Coverage: The generous image circle ensures compatibility with formats up to 4.5K open gate, minimizing vignetting and optimizing sensor usage.
Compact Design: Weighing just 2 to 2.4 lbs (907–1070g), these lenses are half the size and weight of many competitors, providing better portability without sacrificing optical performance.
Oval and Waterfall Bokeh: Laowa claims the lenses deliver “consistent bokeh from center to edge” and a smooth “waterfall focus roll-off,” avoiding the distracting distortions seen in other anamorphic options.
Flare Coatings: Available in blue, amber, and neutral silver options, the flare color can be tailored to suit creative preferences.
Minimal Focus Breathing: Low breathing ensures stable compositions during focus pulls.
Build and Usability
Laowa has prioritized usability with the Nanomorph LF series, equipping these lenses with features tailored to professional workflows. One standout detail is the extended focus throw of 270 degrees, which offers precise manual control over focus adjustments. This degree of precision is invaluable for maintaining subtle depth cues and achieving smooth focus pulls, especially in high-pressure production scenarios. The lenses also feature a dual-scale focus indicator, ensuring clarity whether operators prefer imperial or metric units.
The inclusion of an interchangeable mount system broadens the series’ compatibility across a wide range of cameras. By default, the lenses ship with an ARRI PL mount, but they can be swapped for Canon EF, Canon RF, Sony E, Nikon Z, DJI DL, and L mounts. This flexibility supports multi-camera setups and long-term adaptability as camera ecosystems evolve. Each mount kit includes shims for fine-tuning flange depth, enabling cinematographers to achieve precise back focus alignment. However, it’s worth noting that the interchangeable mount design also highlights a limitation: the lack of electronic communication. Unlike lenses equipped with systems like Cooke’s /i Technology or other metadata protocols, the Nanomorph series cannot transmit focus, iris, or lens metadata to the camera. As production environments increasingly rely on metadata for workflows like virtual production and VFX, this absence could be a drawback for certain users.
Despite their professional capabilities, the Nanomorph LF lenses are remarkably compact. At just 2 to 2.4 pounds with a consistent front diameter of 86.4 millimeters, these lenses integrate seamlessly into production setups, accommodating standard matte boxes and filters with ease. The 77-millimeter filter thread is another thoughtful addition, allowing for quick use of lightweight screw-on filters. This compact form factor is particularly appealing for handheld or gimbal-mounted shooting, where weight and balance are critical considerations.
Optical Performance
According to Laowa, the Nanomorph LF lenses excel in sharpness and contrast, even when used wide open at T2.9. This positions them as versatile tools for everything from indie productions to high-end cinematic projects. The lenses’ performance is said to complement modern sensors while offering creative flexibility through post-production color grading or the use of diffusion filters.
Additionally, the lenses reportedly maintain excellent edge performance, addressing the over-compressed distortion at the edges of the frame that affects many anamorphic designs. This flaw, often seen as a compression of object shapes near the periphery, can disrupt composition and limit creative flexibility. Laowa claims to have engineered the Nanomorph LF series to overcome this issue, offering consistent rendering across the frame. However, it’s worth noting that some filmmakers actively seek out such aberrations, embracing them as part of the distinctive anamorphic aesthetic. This divergence in creative preferences may influence how these lenses are adopted. While their optical precision will likely appeal to those prioritizing clean, distortion-free imagery, purists who favor traditional anamorphic characteristics may approach the Nanomorph LF series with caution.
Pricing and Availability
Each lens in the Nanomorph LF series is priced at $1,499. The full four-lens set costs $5,399. Laowa aims to position these as affordable options for filmmakers exploring the full-frame anamorphic format.
Final Thoughts
The Laowa Nanomorph 1.5x LF Anamorphic series represents a strong entry into the world of full-frame anamorphic glass. With its compact design, interchangeable mounts, and varied flare options, it caters to a wide range of production needs. While the relatively affordable pricing may raise questions about its robustness in demanding professional environments, Laowa’s track record and feature set suggest the Nanomorph LF could be a compelling choice for filmmakers eager to achieve cinematic anamorphic aesthetics without breaking the bank.