Laowa has launched a new range of premium cine lenses. The Nanomorph LF 1.5x Anamorphic Series has been designed for large format and full frame cameras, and is aimed at theatrical and enthusiast filmmakers. Four lenses make up the new range:

• Nanomorph 32mm T2.9 1.5X LF Anamorphic
• Nanomorph 42mm T2.9 1.5X LF Anamorphic
• Nanomorph 55mm T2.9 1.5X LF Anamorphic
• Nanomorph 85mm T2.9 1.5X LF Anamorphic

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Best cinema cameras

Each lens boasts a 44.71mm-diameter image circle, making them slightly oversized for full-frame cameras. This means the extreme edge of the image circle falls beyond the periphery of a full frame sensor, reducing vignetting and improving corner sharpness. The lens' anamorphic 1.5x squeeze ratio enables a 2.66:1 aspect ratio on a 16:9 sensor after de-squeezing, producing a more pronounced cinematic effect than a conventional 1.33x lens, while being physically smaller than lenses capable of 1.8x or 2x squeeze ratios. Laowa claims its 1.5x squeeze ratio delivers a "smooth, organic waterfall focus roll-off" in out of focus backgrounds, compared to other lenses which may deliver less consistent bokeh between the centre and edge of frame. Nanomorph lenses are also said to benefit from distortion control, reducing edge distortion and thereby making more of the image frame usable for composing subjects.

The Nanomorph LF series has been engineered with controlled focus breathing, ensuring consistent framing even during focus transitions and reducing potential distractions which would be time-consuming to rectify in post production. Laowa also offers a choice of flare coatings - amber, blue, and silver - to suit your film style. There's even a built-in back-focus mechanism in each lens, making focus calibration a breeze.

All four Nanomorph LF have been designed with compactness in mind, so they can be used in a variety of usage scenarios, including handheld rigs, and even drones. The lenses have a common 86.4mm diameter, with length ranging between 113mm and 121mm, depending on focal length. Overall weight is fairly consistent across the range, too, from the 85mm lens that weighs 922g, to the heaviest lens; the 1070g 32mm optic. The default mount option is ARRI PL, but optional bayonets are available to convert the lenses to Canon EF, Canon RF, Sony E, Nikon Z, and L Mount.

Laowa Nanomorph LF lenses are available to pre-order, priced at $1,499 each, or $5,399 for a 4-lens set.

Pre-order Laowa Nanomorph LF lenses now from B&H

Blackmagic Design has announced that it will start taking pre-orders for the new Blackmagic URSA Cine Immersive camera – the first commercial camera system specifically designed to capture Apple Immersive Video for Apple Vision Pro.

Featuring a fixed, custom lens system designed for Apple pre-installed on the body, the sensor delivers 8160 x 7200 resolution per eye (more than 8K each eye), with “pixel level synchronization” and 16 stops of dynamic range, enabling cinematographers to shoot 90fps 3D immersive cinema content to a single file.

The immersive lens projection data then travels through post-production in the Blackmagic RAW file itself.

Pre-orders are now open for delivery in the first quarter of 2025 at a cost of $29,995 (no official pricing for other regions has been announced, but this works out as around £23,625 / AU$47,445).

Additionally, DaVinci Resolve Studio will get an update around the same time that will support editing Apple Immersive Video to create an end-to-end system supporting creators who want to make content for Vision Pro.

A key feature includes a new immersive video viewer, which will enable editors to pan, tilt and roll clips for viewing on 2D monitors or on Apple Vision Pro for an even more immersive editing experience.

“Apple Immersive Video is a remarkable 180° media format that leverages ultra-high-resolution immersive video and spatial audio to place viewers in the center of the action,” said Blackmagic.

Grant Petty, Blackmagic Design CEO, added: “We are excited to begin accepting pre-orders for the new Blackmagic URSA Cine Immersive camera and preview a true end-to-end workflow for Apple Immersive Video with DaVinci Resolve.

“We are looking forward to working closely with filmmakers and production companies on the Blackmagic production workflow for Apple Immersive Video before releasing the camera to a wider audience later in 2025. We can’t wait to see the amazing action, drama, concerts, sports and other incredible experiences our customers will capture in this powerful new format pioneered by Apple.”

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Take a look at our guides to the best cinema cameras, the best cameras for filmmaking, and the best Blackmagic cameras.

Arri has introduced a new line of prime cine lenses inspired by the ancient Japanese philosophy of Ensō, aiming to provide a versatile choice for all shooting scenarios and a more 'affordable' entry point into the Arri family.

It's fair to say that Arri is the very pinnacle of cinema camera and cine lens design, with its cameras being used to film all but two of the best picture-winning movies at the Oscars since 2011 – and the two outliers were shot on film!

The new Arri Ensō Prime lenses launch with a lineup of 14 prime focal lengths from 10.5 to 250mm, which enables users to find the perfect focal length to suit their style. The range also includes 1.4x and 2x teleconverters, turning the 250mm into 350mm and 500mm and offering incredible reach.

Above: A video introducing the Arri Ensō Prime lenses

Uniformity in cinema lenses is a must, as it enables the quick and efficient swapping of lenses when attached to stabilizers and rigs without the need to readjust the equipment. The 14 lenses in the Ensō range all have the same gear ring positioning, and the majority have the same 90mm font lens diameter.

Other than the two widest and two longest focal lengths (10.5mm, 14mm, and 150mm, 250mm), the range features a wide T2.1 aperture, enabling incredible optical quality and super smooth bokeh.

Arri product specialist for cinema lenses Art Adams says, "Ensō Primes share many characteristics of modern Arri lenses. They capture high-resolution images that always feel natural, with rapid focus roll-off and silky smooth bokeh. From this base look you can push Ensō Primes in several different directions".

The Ensō release introduces the Ensō Vintage Elements, additional lens optics that provide a unique vintage look to your shooting style. We have seen many recent award-winning movies, such as Yorgos Lanthimos' Poor Things, filmed with old vintage lenses.

The optics can be magnetically attached to the base of the camera body to create an endless catalog of vintage looks with one lens set. By fine-tuning the optics you can adjust focus fall-off, and bokeh to suit your creative needs. The adapter also enables the user to create their personalized looks.

Arri states, "Ensō lenses combine German precision engineering with Japanese optical excellence. Simplicity and purity of purpose were guiding design principles and inspired the name Ensō, after the circular Zen calligraphy symbol. Creating an Ensō with a single brushstroke is an expression of nowness that requires emptying one’s mind of distractions and fully committing to the creative flow. Arri Ensō lenses embody this philosophy by instilling the confidence to put aside technical concerns and focus on capturing the moment".

The other noticeable thing about the Ensō lenses is the smaller and more lightweight form factor. This provides versatility and maneuverability meaning that they are just as optimal for an individual one-person shooter as a small team.

Arri has stated that the Ensō lenses are designed to invite emerging filmmakers into the Arri family by making them easy to use, and more affordable at the same time as keeping its industry-leading standards.

The sticking point for many aspiring filmmakers is the cost of equipment. Professional cinema equipment certainly takes a step up in price from photography equipment and Arri takes that step even further. However, the Ensō range is aimed to be a more affordable entry point although the lens pricing still starts at around $10,000 / £10,000 per lens or around $70,000 / £70,000 per set.

Despite the cost, it is evident by the video sample footage that these lenses produce the stunning quality that Arri is known for in a smaller and more maneuverable body. More information on the Ensō Prime lenses can be found on the Arri website.

Check out our guides to the best cinema cameras, the best cine lenses, and the best cameras for filmmaking.

It’s fair to say that low-budget filmmaking has had many "revolutions" over the years. From the advent of cheap compressed tape to the DSLR that changed everything in the 2000s, filmmaking has been democratized by cheaper cameras and systems that made consumer video more accessible than ever before.

YouTuber wolfcrow, the alias of filmmaker Sareesh Sudhakaran, has compiled a list of the top ten cameras that changed filmmaking forever. Starting in the 1990s, and running right up to the 2020s, wolfcrow’s list looks at all the major shifts in consumer filmmaking, and how they influenced not only the amateur end of the spectrum, but the professional world of filmmaking.

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You can watch the full video below, and read on for a teaser look at the first few cameras that Sudhakaran selected…

1. Sony DigiBeta

Also known as the Sony Digital Betacam, this camera arrived all the way back in 1993. It recorded video in a compressed format to a tape that would hold about 40 minutes of footage. The setup required you to buy Digital Betacam decks to offload the 10-bit 4:2:2 footage so, while it was complicated and expensive, it was noticeably cheaper than the Betacam formats that had come before. 

Where the revolution really happened was in television as well as low-budget filmmaking, as it became much cheaper to shoot large volumes of footage. In the video, wolfcrow says he remembers film crews in India working with Digibeta well into the 2000s!

2. Sony PD150

Once the DV (digital video) standard arrived, low-budget filmmaking got cheaper and more accessible than ever – this is largely why there was such a boom in home movies post-1996. One of the standout DV cameras, and number two on the list, was the Sony PD150, which had XLR inputs and a 1/3-inch CCD sensor, while also being small enough to take anywhere. 

Filmmakers like David Lynch and Michael Winterbottom tried out the Sony PD150 in the early to mid 2000s, and for many it was the kind of interstitial stepping stone that took them from film to digital. Many, like Lynch, never looked back.

3. Panasonic DVX100B

After DV gave way to miniDV, the Panasonic DVX100B came along, providing digital filmmakers with something they’d been craving: the true 24p frame rate. Twenty-four frames per second is so beloved by filmmakers because it is seen as the true 'cinematic' frame-rate (as it’s the same frame rate delivered by motion picture film). 

The Panasonic DVX100B was the camcorder that delivered the 24p frame-rate, shortly before the advent of high definition. While lots of amateur filmmakers loved the camera for its ability to provide a cinematic look, it found its way into the  industry proper, too – the first few seasons of It’s Always Sunny in Philadelphia were shot on this camera.

4. JVC HD110U/111E

As mentioned, the HD revolution was just around the corner, and one of the most popular cameras for this era was the JVC HD110U/111E. While there were plenty of cameras jostling for competition in this space, the JVC HD110U/111E had a big advantage in that it offered interchangeable lenses, giving filmmakers much more flexibility.

5. Canon EOS 5D Mark II

Cheaper than comparable DSLRs, the Canon EOS 5D Mark II changed up the filmmaking world by providing shooters with the means to create shots with shallow depth of field. It was the first EOS camera to provide video recording, and the first full-frame DSLR to shoot 1080p. 

After hankering for shallow depth of field for years, filmmakers flocked to the 5D Mark II. Loads of big-budget films and TV shows from the 2010s include shots from this camera – including everything from House MD to Marvel's The Avengers – and later its successor the Canon EOS 5D Mark III.

The rest of the top ten includes some interesting choices – and some controversial ones, like the Canon EOS R5, which some of the video’s commenters disagree with. To see everything that was included, make sure you check out the rest of the video!

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Best cameras for filmmaking
Canon EOS R5 review

Anyone who has marveled at epic Hollywood blockbusters – shot in glorious ultra-widescreen with that wonderful oval bokeh and vivid long blue lens flares – has seen what the best anamorphic lenses can do. Most big-budget movies rely on them, because of their striking visual aesthetic, but anamorphic lenses are increasingly finding uses in independent films too.

While anamorphic lenses became popular in analogue filmmaking, as cinematographers explored the visual impact of the wider CinemaScope aspect ratio, they have enjoyed a surge in popularity among digital filmmakers who want to use the best cine lenses available. No longer do you need an anamorphic projection lens to correct the squeezed image; now this can all be done in post-production.

It is surprising how often technology developed for one application finds use in another, for which it then becomes ubiquitous. While filmmakers and videographers talk increasingly of the widescreen cinematic look that the best anamorphic lenses can provide, you make be surprised to know that anamorphic lens cylinders were first developed for tank periscopes during World War I to get a wider look outside.

Filmmakers are constantly looking for ways to improve the aesthetics of their film, using dedicated cine lenses, as well as color grading and aspect ratio manipulation in post-production. One common practice is to convert a 16:9 camera image shot on a standard lens into a 2.4:1 cinematic aspect ratio via post-editing applications. Although this method achieves a cinematic look, it also degrades the footage and results in lower-quality images.

The best anamorphic lenses

Best wide-angle anamorphic lens

The Sirui 24mm f/2.8 1.33x Anamorphic was the third lens in the company's anamorphic range. Available for both APS-C and Micro Four Thirds systems, shooting with a Sirui lens with a 1.33x de-squeeze factor on a 16:9 sensor will give you a final aspect ratio of 2.41:1 – close to Panavision and Cinemascope aspect ratios.

One of the highlights of the Sirui 24mm f/2.8 1.33x Anamorphic is its sharpness. Some of the more affordable anamorphic lens options can struggle to achieve the same crispness as more expensive pieces of glass. However, even with this lens wide open, it produces images just as sharp as lenses ten times its price.

Best standard-view anamorphic lens

Another lens in Sirui's great value anamorphic lineup, the Sirui 50mm f/1.8 1.33x again features a 1.33x anamorphic squeeze, increasing your field of view by 33% and giving an angle of view that is equivalent to an APS-C 37.5mm lens. This allows you to shoot high-definition video in a classic CinemaScope aspect ratio of 2.4:1.

It features astounding sharpness for its price. and is one of the lightest anamorphic lenses on the market – lighter even than some anamorphic adapters. Its construction is compact yet solid, belying the fact that it is a fraction of the price of most anamorphic cinema lenses, yet it is capable of producing images that are equally breathtaking. The only real downside is that the lens is not available for a full frame.

Other models to consider from Sirui's expanding anamorphic range are the Sirui 35mm f/1.8 1.33x and the newly-announced 75mm f/1.8 1.33x.

Best anamorphic lens for professionals

Although retailing around $3,250, the Vazen 40mm T/2 Anamorphic is by no means an expensive anamorphic lens. Available in Micro Four Thirds and Canon RF mount only, the Vazen 40mm lens provides a 1.8x anamorphic squeeze and covers Micro Four Thirds image sensor formats. The lens creates a cinematic 2:39:1 aspect ratio when used on cameras such as the Panasonic GH5 Mark II, the Z CAM E2, or the Blackmagic Design Pocket Cinema Camera 4K.

The features a 0.82m (2.7ft) minimum focus distance, focus marks in feet, and a huge 300° focus rotation for precision focusing (although this feels too much if focusing by hand). It's cumbersome compared to its peers at 1.8kg (4lb) but has impressive build quality, a 95mm front diameter to fit standard matte boxes, and independent aperture and focus rings built with 0.8mod cine gears.

Best for smartphones

Moment's lenses for iPhones and smartphones work by fitting into one of Moment's own highly-respected phone cases, which have a mount built in for fixing these accessory lenses to one or more of your handset's rear lenses. Once you have the case on your phone (which you leave on all the time for protection) adding the lens is a simple bayonet twist-lock affair.

The Blue Flare Anamorphic lens gives a 1.33x stretch effect - designed to emulate 2.40:1 Cinemascope. You do have to pay more for the case, of course, and only some manufacturers' models are catered for.

Best anamorphic lens for Micro Four Thirds

SLR Magic's Anamorphot Cine 352XMFT T/2.4 lens is a 35mm 2x anamorphic cine lens to fit MFT cameras which, when ‘desqueezed’, produces the full widescreen look with a real 2.66:1 aspect ratio. The lens has the widest aperture of T/2.4, features geared focus and aperture rings, a minimum focus distance of 1.1m, and 82mm front filter thread that allows you to screw in filters and dioptres to reduce the minimum focus distance. The front of the lens rotates as you focus, however, which may affect your choice of matte box.

Included with the lens is a hard transport case and 15mm rod lens supports. The SLR Magic's Anamorphot Cine 352XMFT 35mm lens is also available as a set, together with the 50mm T/2.8 and 70mm T/4 MFT lenses (also available individually). For PL mount users there is a similar range, which features an anamorphic squeeze of 1.33x.

What is an anamorphic lens?

What is an anamorphic lens? Put simply, an anamorphic lens changes the dimensions of an image in one axis; allowing for a wider field of view. Essentially, these lenses maximize the use of any sensor by fitting more footage onto it, resulting in a wider aspect ratio without degrading image quality.

With anamorphic lenses, you will often see a 'de-squeeze factor' next to the name – most often 1.33x, 1.8x, or 2x. This is because the lenses produce an image that's compressed in width and require it to be stretched in post to be properly displayed. The de-squeeze factor tells you how much the image is compressed. Some high-end cinema camera manufacturers such as Red feature in-camera anamorphic settings, allowing you to see a de-squeezed image on the screen as you shoot.

As an example, compared to a traditional 50mm APS-C lens, the Sirui 50mm f/1.8 1.33x Anamorphic lens produces a cinematic 2.4:1 widescreen video with a 33% increase of the horizontal field of view, effectively achieving a FOV equivalent to an APS-C 37.5mm lens.

Unfortunately, because of their complex internals, anamorphic lenses can be prohibitively expensive. It is not uncommon for dedicated anamorphic cinema lenses from manufacturers such as Cooke, Kowa, and ARRI to cost upwards of $20,000, and more often than not they will be available to rent for the duration of a film shoot rather than to buy.

Indie filmmakers needn't fear, however – a number of sub-$1,000 alternatives have been launched in recent years by companies such as SLR Magic, which has developed a range of screw-in anamorphic adapters for standard lenses, and Sirui, which has made a name for itself by launching its lenses on crowdfunding platform Indiegogo, making their great value lenses cheaper still with early bird special offers.

There are even anamorphic adapter lenses to use on the best camera phones, giving you an ultra-wide anamorphic look at a fraction of the price of cinema lenses. With a wide range of free video editing software also available, achieving that Hollywood-style cinematic look is cheaper than ever before.

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