Super 16 Anamorphic with 1.5x Nanomorph | Lens Review with Test Footage

[@Filmboy24]

Really...really nice images! Your videos are quite inspiring, keep shooting film!!

[@nkosiroma]

Thank you!

[@karlneubart]

👏👏👏 Thanks for this gem

[@resarussell2449]

This is all fascinating! I love seeing the footage in correlation with the thought & work behind what we as the audience see. While I don’t yet understand everything going on, this is really enjoyable to learn about.

[@nkosiroma]

Thank you for watching Resa!

[@imabigsandwich1292]

LMAO THAT CLAPBOARD, great review as always and would love to see more of these type of videos with reviews on 16mm film and 16mm footage!

[@nkosiroma]

More to come!

[@rafibenatar2519]

Please post more stuff with this lenses 👌🏻🙏🏻

[@trulyindiestudios]

been thinking about picking up this set :)

[@scruedkix3897]

Great stuff man. You could look into a wide angle adapter for the 27mm for a wider field of view.

[@nkosiroma]

That’s a very good idea as these lenses do have filter threads. Any quality adapters you could recommend for a 77mm filter thread?

[@scruedkix3897]

@@nkosiroma Well there isn’t currently much mid-range options. Century Optics occupies the higher end, and lack a lot of distortion and abberrations. Neewer produces 0.45/0.43 adapters that look pretty good from what I’ve seen, and are much more affordable. Given how technically refined the Laowa optics are, any image degradation would be minimal with either.

[@ryanholly7706]

Thanks for taking us to glass class, brother! First time I haven’t nodded off during a lecture in ages. Peace!

[@nkosiroma]

Appreciate you bro!

[@raymondzrike]

Been waiting for this video! They look great. Maybe a little lacking on the wide end, but adding a spherical 6-9.5mm and cropping would make this a really useable set. And hopefully Laowa considers making 1.5x lenses in the future that are a bit faster, maybe f2, and just sacrifice some in weight/size. They would make a great compliment to each other (like Ultra Primes and Master Primes).

[@nkosiroma]

I had the same thought! Fingers crossed for future anamorphic options from Laowa!

[@connornyhan]

This video now feels even more relevant with Laowa offering a 20mm T2.2 Nanomorph for MFT, now the 6 lenses seem perfect for shooting a whole feature on Super 16.

[@BowenMoreno]

Awesome video and great footage! Currently looking into lens options to purchase with an SR. These are cool but yeah, not wide enough.

[@nkosiroma]

Thanks for watching! The 27mm can get tight for sure but works for me since I shoot more mediums and closeups. I think 16mm shines in tighter shots.

[@christopherduran9926]

Did you see they just released a 20mm t2.2! Pretty sweet companion, and now almost a complete s16 anamorphic set

[@nkosiroma]

Just hear about it!! Wild!!

[@christopherduran9926]

Yeah man, 20-27-35 in silver flare seems like a pretty great buy Just wish they were all the same speed :-(

[@jmalmsten]

I remember reading that Techniscope (2 perf 35mm) became very popular here in Europe when it was introduced as it made it possible to shoot films on 35mm for scope prints with a cost per minute comparable with 16mm. And with the lenses and printing tech available at the time, they even could get sharper prints from Techniscope than real 4 perf 2x anamorphic systems. I bring it up as I am curious what the difference is today cost-wise. Could it be a compatable cost today to rent cameras and shoot on 2perf 35 vs s16 with 1.5x anamorph lenses when processing and scans are factored into the budget? I mean, the footage here looks great, it just got me thinking if the relative costs still hold true today as they did back in the 1960s. :)

[@nkosiroma]

I looked into this pretty extensively a while back, and 16mm film is 21% cheaper per foot than 35mm 2-perf, which doesn’t seem too bad, but it’s about 50% more expensive to shoot a project on 2-perf than on 16mm because you need MORE feet of 35mm to achieve the same run time (at the same frame rate) on 16mm. Here’s a (outdated pricing) breakdown to see what I mean, A 7 min short shooting at 4:1 ratio: On 16mm = $1,008 (28min x 36ft/min @ $1.00/ft - raw stock, process, & scan) On 35mm 2 perf = $1,524.60 (28min x 45ft/min @ $1.21/ft - raw stock, process, & scan) You can see accurate runtimes for various film formats on Kodak’s Cinema Tools app. In definitely going to shoot something on 2 perf one day!

[@ericiyoob]

Love these lenses. I might get one to try out!

[@nkosiroma]

Definitely worth a try!

[@ericiyoob]

@@nkosiroma Thank you for clarifying the PL's flange distance. Always something we have to be on the look out for!

[@louford1952]

Nice. Only wish they had some more of that magical barrel distortion of the films we love.

[@nkosiroma]

Agreed. Hard to get the distortion without the 2x squeeze. I may have to mess around in post to see how easy it is to emulate the distortion.

[@Holtenstein]

I picked up the PL set in silver. I'm really enjoying them. I added a Fujinon wide-angle converter and managed to get the 27mm to about 24mm and now the minimum focus is around 7". It does add a slight vignette but not a big deal. The only real negative is the additional size. I plan to pick up the 65mm and 80mm when available. Great little anamorphic set. I can't wait to try Laowa's 2x versions too.

[@nkosiroma]

Sounds like a great pairing! I’d be interested in trying out a WA adapter!

[@MaxKissler]

Your videos make me want to shoot film aswell. I thought about getting a Super 16 Krasnogorsk 3 just to be able to shoot it with my existing anamorphic setup (mainly a rehoused Kowa 16h that I modded myself plus single focus solution). The price of film in Europe has prevented me from buying it however.

[@nkosiroma]

Have you hear about Orwo’s new color film stock? Could be a more economical alternative if you’re just wanting to shoot!

[@MaxKissler]

@@nkosiroma Cool. I haven't heard of it yet. I didn't even know orwo was still making films. I visited the plant in Bitterfeld-Wolfen once and it was worth the trip. So far I'm having a hard time convincing my corporate clients to shoot any other aspect ratio than 16:9 anyway so maybe for personal projects..

[@FoolishSwamii]

Yes. Yes!

[@RealityScope]

What's your opinion on how sharp these Nanomorphs are compared to your normal spherical lenses? Do you recall what aperture you were at for the interiors on your scene at the end? Also--the 20mm Nanomorph fits my s16 Arri SR I without any mirror interference on the rear element. So far I love it!

[@nkosiroma]

The nanomorphs are very sharp compared to older 16mm spherical glass. I probably shot wide open or close to wide open on those clips!

[@RealityScope]

@@nkosiroma which focal lengths do you find yourself using the most often? I'm definitely wanting to acquire a set. I was intrigued by their 28-50 anamorphic zoom but it looks like the rear element is probably incompatible with the SR.

[@nkosiroma]

@@RealityScope I used all the 27, 35, and 50 for the projects I’ve shot with them! Want to try out the 20mm at some point!

[@cams2341]

Beautiful!!

[@nkosiroma]

Thanks Casey!

[@NarrowGaugeFilmsLLC]

Yea they totally break my brain. After you came over, another friend of mine came over with his set, I'm gonna shoot with them soon.

[@nkosiroma]

You absolutely should! Looking forward to your Orwo tests when you get the film in!!

[@NarrowGaugeFilmsLLC]

@@nkosiroma They haven’t shipped yet, but rumors are they’re shipping right in the new year. I’ll let ya know how things go.

[@SereneBobcat]

Very cool look. Wish I could afford to shoot film.

[@nkosiroma]

It’s definitely not a cheap process, but if it’s a worthwhile project it’s totally worth it!

[@DethronerX]

Thanks for sharing some of the footage, looks gorgeous. One thing, is it true that footages these days are coming with too much warmer yellow and with more detail and i dont know if its the lenses, new filmstocks or post or all together. Im missing the faded brown and blue tones of the 90s and before and desaturated yellows or maybe im more of a fan of browner and bluer color graders and maybe sometimes Magenta like Twin Peaks S1 and 2, so really hoping Kodak and others reissue very old stocks that had that look. Although from your side, youre doing it perfectly well and it looks gorgeous. Im only talking about the subjective side of it.

[@nkosiroma]

Thanks for the comment. I definitely haven’t been shooting long enough to be able to compare the current film stocks with older ones, but I know that color grading defines a lot of what we see in the final image in regards to color today. Grading has come a long way since the 90’s where the look of film was still heavily derived from the stocks and decisions made in production as opposed to now, where the look can be drastically altered and defined in post.

[@DethronerX]

@@nkosiroma Well that's true, you're right. If you ever want and can, I'd love to see a video on how they used to grade back then, I don't know what's color timing or whatever it's called, where some directors like David Lynch have expressed frustration because of limited time to color scenes and i never understood why because i can't find videos on it or know what to look up, but would definitely love to see, so i can maybe try it myself if it's even possible. Kodak does talk about new stocks with more dynamic range and getting more details out of bright areas, like the sky. But i have yet to find a video where they show us the process of working with old movies. I've even messaged Kodak to try to bring old stocks the way they were made, but why would they listen to a random guy on the net, im no Euphoria guy who helped resurrect Ektachrome

[@BlackWinterProduction]

By the way, Twin Peaks was shot with a coral filter, so the lovely look was made in-camera. These filters were popular in the 1980s. These days, the same effect can be achieved in colour grading. But this real film vibe is unrivaled.

[@DethronerX]

@@BlackWinterProduction Would be awesome to see you experiment with filters whenever you wish. I like your cinematography and I think its really fun when people mess around more on the shoot and less on post. But its good to know. I dont know the behind the scenes thing with old movies so im always waiting to see videos on how they achieved the looks. I bought a shitloads of filters 2 years ago, but never got to use them. Some of them are those half way gradients for the sky and others are flat colors, but I would love to use magenta, warm, blues. I just shot some super 8 with 500T in daytime without a filter, but I think next time i should try that and see the difference of white balancing on post with it

[@MadmooseChasenNuttall]

Are the nanomorph zooms as compatible as the primes with super 16?

[@nkosiroma]

Haven't had a chance to try them yet, but they should be!

[@spedslojp3353]

What’s the equivalent focal length of the 27mm in a S16 spherical lens?

[@nkosiroma]

A 27mm spherical lens will render a 54mm (s35 equivalent) field of view (FOV) on super 16. Since the Nanomorph has a 1.5x horizontal squeeze, the image has a horizontal FOV of 36mm (s35 equivalent) on super 16. On S35 this lens will render an 18mm horizontal FOV.

[@Moses_Kanneh]

Film😌

[@ForestCinema]

I’m building a set (18/24/50) 1.75X for 16mm! Should be actually wide enough to be useful, my tests show real oval bokeh and great flares even on the smaller format

[@nkosiroma]

That sounds sweet!

[@ForestCinema]

@@nkosiroma I’ll try and remember to send em your way when they’re done! I’m aiming to have working prototypes by February, and finished units by summer

[@phoenixfunny4517]

Are you building them yourself or are you finding them?

[@ForestCinema]

@@phoenixfunny4517 building myself

[@christopherduran9926]

Holy shit what!? Take my money now! Is there a list I can be added to :-)