I first started filming anamorphic in 2014 using this: The SLR Magic 1.33x adapter. Featured here is the SLR Magic 2x adapter, and for my money this combination of Voigtlander taking lens and adapter leaves me creatively and emotionally satisfied compared to any other adapted solution for the Micro Four-Thirds line. But, what about technically or mechanically satisfied? Well, that's more complicated. 

There are a few downsides to using an adapted lens.

From stepping down to get a sharp image, to requiring a ton of extra light to expose properly, dual focusing, alignments, clamps, brackets, diopters... its fair to say that an adapted anamorphic solution will never be as effortless to use as a single, purpose built anamorphic lens.  Enter: Vazen.

These are the Vazen 28mm, 40mm, and 85mm 1.8x Anamorphic lenses. The 28mm features a T stop of T2.2 thru T16, the 40mm is T2 thru T16, while the 85 is T2.8 thru T16. The 28 and 40mm share a minimum focusing distance of 2.7ft and the 85 is 3.8ft. The 28mm weighs a respectable 1.59lbs and is modestly sized for the MFT system, the 85mm comes as PL or EF mount weighing in at 3.28lbs, but the 40mm is 3.97 lbs with a gigantic front element that looks so out of place for micro 4/3rds, you might mistake it for a long range telephoto lens.       

Now, I believe the best way to show what a lens is capable of is to use it in a production setting. So I put together a series of scenes, each with a distinct style to better understand what using these Vazen lenses would look like on larger shoots, or even full length feature films. 

What i'm hoping to share with you is what my experience was like, moving from an adapted solution, to a true, anamorphic setup. 



    • Vertical distortion / alignment

      • In many anamorphic test videos I’ve watched, there are two things that instantly ejects me from immersion. The first is poor alignment (off horizon flaring)  and 2nd is vertical distortion (image curvature). I’m pleasantly surprised to see that none of the vazen lenses has any of these issues. As there is no secondary optical  adapter, you will always get a horizontal flare, which not only saves time, but wont result in getting your footage back only to realize your flares are slightly diagonal and your subjects curve to the left or right.

    • Bokeh

      • The bokeh is shockingly undramatic. Now, I tend to stop down to minimize the depth of field and most of these scenes were filmed between T4-T8 on average. And truth be told, I’ve never much cared for that kind of pixel peepery, but I can say with some confidence that while the bokeh isn’t “buttery smooth” its also not drawing my attention away from the focal point. The best thing I can give it is that it renders a neutral image. 

    • Sharpness

      • The sharpness across all the lenses is very good when stopped down. The only one that stands out as being a bit sharper is the 28mm and in some cases, I’ve actually softened the image in post. They aren’t super soft or dreamy, but they also aren’t clinical. The Vazens have character, but its the kind type of character that will allow you to be a little flexible with it in post.   

    • Color

      • As I said before, these lens has a lot of flexibility when it comes to the look. The true color of the Vazen lenses are right in line with the sharpness and bokeh, which is quite neutral. As a set, they do seem a tad low in contrast, but for my particular style is a welcome touch. I graded each short differently. I’ve added blur to some, grain to others, sharpness, creative LUTs, adjustment layers, etc.... to show you just how far you can push the style.

    • Flaring

      • It seems rather controlled for the most part. I did not use any kind of matte box, so you might well see indirect flaring. It does have that signature anamorphic blue look, but again, doesn’t feel overpowering.

  • Focus pulling

    • So before I get into the Vazen focus, I need to briefly explain how my SLR Magic adapter focus works. The adapter has a near and far setting. This is a completely independent focus from the taking lens. If you want a smooth focus pull from infinity to the minimum focus distance, you would need to pull both the taking lens focus AND the adapters focus. And if not tightened correctly, could mess up your alignment and ruin the take. 

    • So obviously there isn't much contest here. Being able to pull focus like a normal lens is not only simple, but the overall effect of being able to shoot anamorphic has become less stressfull. Less prohibiting. But just like the majority of anamorphic lenses, the minimum focusing distance is still an issue compared to standard spherical lenses. At 2.7ft you do sometimes have to work around certain shots, but this is where diopters come in. 

  • 1.8x vs 2x (Vazen vs SLR Magic)

    • The 1.8x squeeze is actually rather pleasing, but still shy of that 2x look. That being said, its light years better than some other 1.33x anamorphic lenses and adapters that have come out recently. And while I still prefer 2x, I also realize that a harder squeeze changes the math on how big and heavy a lens must be. So a compact 1.8x seems like a worthy trade off. Side note: On my GH5, the only option for desqueeze is for a 2x lens, so while it may not be perfect, its still adequate for framing your shot on the 1.8x lens.

  • Low Light

    • Low light in anamorphic is always tricky. Rarely does anamorphic glass look sharp at its fastest F or T stop and the vazens are no different. The 85 was particularly challenging during the night shots and I despite the fact that focus is easier to pull, I still missed the mark several times. They didn’t do bad, but they are no match for my F0.95 Voigtlanders. Solution? Rent some damn lights. 

  • Conclusion

    With the Vazen lenses, I find myself  more often than not, confidently able to repeat shots instead of having to get lucky. It’s less takes for the actors, less holding time while we adjust the near / far focus and it means earlier times we can get done and off set. The ripple effect of having a proper focusing lens is sizeable. I feel like with the vazen’s I could go into the battle of shooting a full feature film and not have to second guess my choice or piss off the director with extra takes because I or the AC can’t pull focus.  I’m also confident in saying that while I love my SLR Magic set up, the experience of shooting with a full anamorphic lens has been fantastic. I’m still hesitant to suggest that anyone can pick these lenses up as filming in anamorphic still has some limitations compared to spherical lenses. But less limitations than going with someones adapted setup. With that being said, the Vazen lenses have earned their spot in my bag of tools should the project call for it. 

Final thoughts 

If I had one major criticism of these lenses, 28mm vs 40mm - I see little to no difference in the image change and in the grand scheme, would probably not purchase the 40mm as it offers no real advantages to the 28mm. Its bulky, heavy and has a very long focus throw, making it near impossible to do rack focusing without shaking the image considerably. Handheld is pretty tough and rigging it to a gimbal system without a ton of counterweight seems unlikely to happen. The 65mm seems like it will be following suit by being large and unbalanced. Which leads me to only being able to recommend the 28mm and 85mm.  Also the cleanly etched numbers are too big, the distracting burnt orange color, and the semi rounded font, actually make this lens look almost toy like rather than a serious lens. But the font is a minor quibble in the grand scheme.