I’ve always been curious about anamorphic lenses. The look, the character, the way they just do something different to an image. But until recently, I hadn’t really jumped in. That all changed when I picked up the Blazar Mantis 1.33x anamorphic lenses.

These lenses were my first true dive into the anamorphic world—and I was honestly blown away.

Just Me, a Sony FX6, and the Miami Heat

This test wasn’t a carefully planned shoot. No shot lists. No specific goals. I just wanted to see what these lenses could do. I grabbed my Sony FX6, went out in the brutal Miami heat (we’re talking 95+ degrees and enough mosquitoes to carry me away), and started filming whatever caught my eye.

What I saw on that screen... man. These lenses have character.

The Look That’s Hard to Describe (But You Feel It)

One of the things that immediately stood out to me was the background compression. It’s hard to explain until you see it. There’s a squeezing effect that’s unique to anamorphic—especially noticeable in those shallow rack focus shots I played with. The bokeh just melts, and the image feels cinematic in a way my usual glass doesn’t deliver.

It made me finally get what people mean when they talk about “lens character.”

I’ve worked with a lot of sharp, clinical lenses over the years. But these... these feel alive. They have personality. Even without a fancy setup, the footage made me want to go out and shoot a passion project.

The 1.33x Sweet Spot for Sony Shooters

One thing I love about the Blazar Mantis lenses is that they’re full-frame 1.33x—perfect for 16:9 sensors like the Sony FX6. I had previously tried the Sirui 1.6x full-frame lenses, which were nice, but the image always felt a little thin unless I cropped in... and I hate losing pixels.

With the Mantis lenses, I don’t need to crop. I get that wide, cinematic feel without sacrificing resolution, and they pair beautifully with the Sony ecosystem I’ve built my business around.

Shooting Style: The Balance of Old School and Modern

I’ll be honest—it took me a minute to get used to manual focus again. I’ve gotten spoiled by the FX6’s amazing autofocus. But once I leaned into the process, I found myself slowing down and being more intentional. These lenses force you to shoot differently—in a good way.

And while I’m usually not a fan of handheld shots with anamorphic (especially when they’re shaky), I didn’t mind the subtle camera movement I captured. It felt natural and added just enough energy to the frame.

South Beach – A Morning I Won’t Forget

After getting a feel for the Mantis lenses in my first test, I decided to take them out again—this time to South Beach, early in the morning, just as the sun was coming up. And honestly, some of the shots I captured that day are among the best I’ve ever taken.

There was no shot list. No real plan. I just let the city speak for itself. Ocean Drive was quiet, the sunrise was reflecting off the water, and the whole scene had this calm, cinematic energy that I wanted to lock in. I love shooting like that—no pressure, just creativity.

Yeah, it was rough. Hot, humid, sweat dripping. But when I’m in the zone, none of that matters. I’m completely dialed in. Just me, the lens, and the light.

I noticed something interesting, too: shooting wide open really brings out the anamorphic character. The flares, the squeeze, the softness around the edges—it all pops so much more. These lenses give South Beach a whole new vibe. It doesn’t look like your typical Miami b-roll. It feels like something else entirely—like a story waiting to unfold.

There were moments I didn’t even want to stop recording. The light was so perfect, the textures so rich. It was one of those rare mornings that just made me grateful to be doing this at all.

The Gear, the Deal, and the Future

I was lucky enough to get in early on the Mantis preorder, scoring them at around $700 per lens. Word is they’ll be closer to $1,000 once fully released, and honestly, they’re still worth it.

I’m already dreaming up future shoots—maybe a short doc, maybe just some more B-roll runs like I did in South Beach. These lenses have sparked something in me that reminds me why I fell in love with filmmaking in the first place.

Final Thoughts

If you’re a Sony shooter looking to add some anamorphic magic to your toolkit, I can’t recommend the Blazar Mantis 1.33x lenses enough. They’re not perfect (what lens is?), but they deliver an image that’s inspiring—and sometimes, that’s all you need to create something special.

I’ll be posting more footage soon. Let me know if you want to see more or have questions about the setup. Always happy to share what I learn along the way. You can watch both full videos below.

Until next time—keep shooting.