Laowa Nanomorph 4-Lens Bundle 32 mm / 42 mm / 55 mm / 85 mm 1.5× Anamorphic LF (Silver) – PL + EF delivers precision optics with cinematic personality. The unified 1.5 × squeeze generates a 2.66:1 frame on 16:9 sensors while covering the full 44.7 mm image circle for ARRI ALEXA LF, RED V-Raptor and Sony VENICE sensors without vignetting. The neutral silver flare coating keeps streaks subdued, letting colourists decide the final look. All primes share T2.9-T22, a 13-blade iris and thoroughly controlled aberrations.
Optical layouts are tuned per focal length: 17-15 elements for 32 mm & 42 mm, 15-13 for 55 mm & 85 mm. Full-frame horizontal/vertical angles: 81.4° × 43.5°, 66.5° × 33.8°, 53.2° × 26.1°, 35.9° × 17.1°. Minimum focus distances sit at 0.48 m, 0.51 m, 0.56 m and 1 m, enabling tight product or portrait coverage without dioptres. Low breathing keeps framing stable during racks.
Every barrel carries a 77 mm filter thread, 80 mm front, 0.8 MOD gears and a generous 270° focus throw / 70° iris arcfor precise remote pulls. Weight ranges from 0.91 to 1.07 kg, short 113 – 121 mm length, suiting gimbals and drones. The interchangeable ARRI PL / Canon EF mounts with on-board back-focus adjustment speed up camera swaps on set.
For studios handling HDR broadcast, high-resolution streaming or narrative features, the matched mechanics and colour render simplify multi-cam shoots and VFX plate work. Uniform gear spacing eases lens changes with clip-on matte boxes, and the controlled silver flare plays well with additional filtration. Built with anodised aluminium and internal seals against dust ingress, the Nanomorph LF bundle condenses a full anamorphic toolkit into a single, travel-ready case that’s ready for today’s 8K pipelines.
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Laowa Nanomorph 4-Lens Bundle 32 mm / 42 mm / 55 mm / 85 mm 1.5× Anamorphic LF (Silver) – PL + EF delivers precision optics with cinematic personality. The unified 1.5 × squeeze generates a 2.66:1 frame on 16:9 sensors while covering the full 44.7 mm image circle for ARRI ALEXA LF, RED V-Raptor and Sony VENICE sensors without vignetting. The neutral silver flare coating keeps streaks subdued, letting colourists decide the final look. All primes share T2.9-T22, a 13-blade iris and thoroughly controlled aberrations.
Optical layouts are tuned per focal length: 17-15 elements for 32 mm & 42 mm, 15-13 for 55 mm & 85 mm. Full-frame horizontal/vertical angles: 81.4° × 43.5°, 66.5° × 33.8°, 53.2° × 26.1°, 35.9° × 17.1°. Minimum focus distances sit at 0.48 m, 0.51 m, 0.56 m and 1 m, enabling tight product or portrait coverage without dioptres. Low breathing keeps framing stable during racks.
Every barrel carries a 77 mm filter thread, 80 mm front, 0.8 MOD gears and a generous 270° focus throw / 70° iris arcfor precise remote pulls. Weight ranges from 0.91 to 1.07 kg, short 113 – 121 mm length, suiting gimbals and drones. The interchangeable ARRI PL / Canon EF mounts with on-board back-focus adjustment speed up camera swaps on set.
For studios handling HDR broadcast, high-resolution streaming or narrative features, the matched mechanics and colour render simplify multi-cam shoots and VFX plate work. Uniform gear spacing eases lens changes with clip-on matte boxes, and the controlled silver flare plays well with additional filtration. Built with anodised aluminium and internal seals against dust ingress, the Nanomorph LF bundle condenses a full anamorphic toolkit into a single, travel-ready case that’s ready for today’s 8K pipelines.
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