Lomo Anamorphic Lenses

Lomo Anamorphic Lenses

I just got back from 2 weeks in a row shooting with a set of Squarefront Lomo Anamorphic lenses that I rented from a guy named Kip in Nashville. The first week was the inheritance studio stuff I've already done a blog post on, and this week was sports stuff back in Massachusetts.

What I haven't been able to talk about until now is that the exact set of Lomos I'm talking about here are now owned by LensProToGo.com! They aren't up on the site yet, but they're here in Massachusetts, and that's something I'm super excited about. Through LPTG you can get the Alexa Mini and these vintage anamorphic lenses shipped anywhere in the country for your shoot, along with just about any other gear you could want - Easyrigs, lights, audio equipment, etc.

The 80mm on the Alexa Mini in Nashville.

The 80mm on the Alexa Mini in Nashville.

The set consists of 3 lenses - an 80mm, 50mm, and 35mm. They have some significant differences between them, as the 35mm is a 3.0 and the other lenses are 2.5s, as well as the 35 being super short and wide and the 80 being long and skinny.

80mm on the left and 35mm on the right - you can see how short and wide that 35mm is.

80mm on the left and 35mm on the right - you can see how short and wide that 35mm is.

This obviously poses some issues with Follow Focuses and Matte boxes, especially if you need to figure out an ND solution. Thankfully the alexa mini has internal NDs, so I didn't bother with Matte Boxes.

If you don't mind the funkiness that comes with it I think the lenses look really nice at 2.5-3, and by the time you hit 4-5.6 they sharpen up really nicely. The flares are gorgeous, and the way they handle bokeh and compression being 2x anamorphics is crazy. It's so weird to have a 40mm FOV with the compression of an 80mm in your hands. They bloom pretty hard if they get backlit, which can be cool or annoying depending on what you're looking for ;)

Nose deep in the hood on my SmallHD 702 filming softball.

Nose deep in the hood on my SmallHD 702 filming softball.


I found that flipping the top handle forward allowed me the range of motion I needed to account for the center of gravity changed when I'd swap between the 80 and the 35, but for the sports stuff I really found myself living on the 50, as it's such a flexible focal length. I posted a few quick edits to instagram showing some of the footage we got, you can find me @EvanBourcier.

 

What do you think about anamorphic lenses versus shooting spherical and cropping?

Here are a few frames from the shoots -

Matt Maher - Rest - Behind the Scenes

Matt Maher - Rest - Behind the Scenes

Audrey Assad - Inheritance Studio BTS

Audrey Assad - Inheritance Studio BTS

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