The Hook
Middle of night three on Married & Isolated, I’m wrestling a SmallRig cage onto an iPhone 12 at 2:47 AM. We’re shooting the breakup scene—tight quarters, one practical lamp, and I need that horizontal flare without blowing out my actor’s face.
The Moment 1.33x I’d been using all week is back at base camp. So I grab the backup Sandmarc from the PA’s bag, thread it on, and immediately notice the flare color is wrong. Not bad. Just gold instead of blue. I shoot it anyway because we’re losing light (well, losing darkness—sunrise was coming), and in post I realize the warm streak actually saved the scene. Gave it this accidental vintage texture that matched the emotional beat better than my planned aesthetic.
That’s the thing about anamorphic phone lenses nobody tells you: the “wrong” choice sometimes works better than the “right” one. But you need to know why you’re picking each lens, not just which one costs less.
The Disclosure
Standard disclaimer: I link to products I’ve actually used. If you buy through those links, I get a small cut from Amazon, B&H, or Adorama. It doesn’t cost you extra, and it keeps this site running. I only recommend gear that’s solved a real problem on set or saved a shoot. If something sucks, I’ll say so.
| Lens | Squeeze | Flare Color | Weight | Best For | Price |
|---|---|---|---|---|---|
| Moment T-Series 1.55x Buy Now → | 1.55x | Blue | 105g | Narrative shorts, music videos | $199 |
| Moment 1.33x Buy Now → | 1.33x | Blue | 85g | Run-and-gun, vlogging | $149 |
| Sandmarc 1.33x Buy Now → | 1.33x | Gold | ~90g | iPhone users, budget-conscious | $130 |
| SmallRig 1.55x Buy Now → | 1.55x | Blue | 113.5g | Android, universal rigs | $140-160 |
The Problem
Most anamorphic phone lens reviews are spec sheets with sample footage shot in perfect conditions. They don’t tell you what happens when you’re handheld at 3 AM, when your gimbal won’t balance with the extra 105g, or when your actor moves two inches and suddenly your AF locks on the background because anamorphic glass confuses phone sensors.
The bigger issue: everyone obsesses over squeeze ratios and flare color, but nobody explains when those differences actually matter. A 1.33x vs 1.55x squeeze sounds technical. In practice, it means you’re either cutting off foreheads in your frame (1.55x) or you’re not (1.33x). That’s the conversation you need before you spend $200.
The Underlying Cause
Here’s the unpopular opinion: most people don’t need anamorphic lenses for phones.
If you’re shooting talking-head YouTube videos or Instagram reels, the 2.40:1 aspect ratio and horizontal flares don’t add narrative value—they add aesthetic debt. You’re committing to a post-production workflow (de-squeeze, color correction, stabilization with extra crop) that eats time for a look your audience might not even notice on a 6-inch screen.
Where anamorphic does matter: narrative shorts, music videos, spec commercials, anything where the widescreen frame and lens character support the emotional intent of the shot. On Going Home (selected for Soho International Film Festival, 2024), we used the Moment T-Series for every exterior because the 2.76:1 frame made the protagonist feel isolated in wide shots. The blue flares on headlights gave this cold, lonely texture. But for our interiors? Standard phone lens. Tighter framing, no squeeze, faster to shoot.
The rule: If you’re chasing a cinematic look, buy anamorphic. If you’re chasing cinematic storytelling, spend that $200 on better lighting or audio.
Lens Breathing and Autofocus Hunting (The Part Nobody Mentions)
Here’s the technical friction that kills beginners: anamorphic glass confuses your phone’s autofocus system.
Modern iPhones use LiDAR and phase-detection AF. Both systems assume spherical lens elements. Anamorphic glass—by definition—is asymmetrical. The squeeze ratio distorts the light path horizontally, which means your AF system sees two different focal distances depending on whether it’s reading horizontal or vertical information.
What this looks like in practice: Focus hunting. The lens pulses in and out, especially in close-up shots or when your subject moves through the flare zone.
Real-world failure: On Dogonnit (2022), we had a scene where the actor leans into frame with a car headlight behind him. The Sandmarc gold flare looked beautiful, but every time he moved, the AF pulsed. We’re talking visible focus breathing—the kind of stuff that reads as “amateur” even if everything else is perfect. The fix: switch to manual focus in Filmic Pro and pull focus by hand. Problem solved, but it added 10 minutes to every setup.
The lesson: If you’re not comfortable pulling focus manually, don’t buy these lenses. Your phone’s AF will fail you at the worst possible moment, and you can’t fix it in post.
The Weight Penalty: A Warning for Gimbal Users
Most reviewers say “it works with gimbals.” They lie.
On Beta Tested (2018), I burned out a DJI Ronin-S motor because a third-party anamorphic lens (heavier than these) shifted the center of gravity just enough that the tilt axis was constantly fighting the glass. The motor overheated after 20 minutes. I didn’t notice until the gimbal started drifting mid-take.
Anamorphic lenses are front-heavy. Even the lightweight Moment 1.33x (85g) changes your balance point. If you don’t rebalance properly, your gimbal motors work harder, drain batteries faster, and—in worst-case scenarios—fail entirely.
Weight thresholds (tested):
- DJI OM 5 / Zhiyun Smooth 5: Handles 85–105g. The Moment 1.33x and T-Series are fine. The SmallRig 1.55x (113.5g) is borderline—you can make it work, but you need to balance it perfectly and accept shorter battery life.
- Budget gimbals (sub-$100): Struggle with anything over 90g. Stick to the Moment 1.33x or Sandmarc.
- Handheld stabilizers (e.g., Freefly Movi): No issue. These are designed for DSLR rigs. Phone lenses are light by comparison.
The rule: If your gimbal costs less than your lens, something’s wrong. Don’t raw-dog it. Buy counterweights, or accept that you’re shooting handheld.
Moment, Sandmarc, SmallRig — Quick Specs
Detailed technical comparison of top anamorphic lenses for smartphone filmmaking
| Feature | Moment 1.33x | Moment T-Series 1.55x | Sandmarc 1.33x | SmallRig 1.55x |
|---|---|---|---|---|
| Squeeze Ratio | 1.33x | 1.55x | 1.33x | 1.55x |
| Final Aspect Ratio | 2.40:1 | 2.76:1 | 2.40:1 | 2.76:1 |
| Mount Type | M-Series bayonet | M-Series bayonet | 17mm thread/clip | T-mount (17mm) |
| Weight | 85g | 105g | ~90g | 113.5g |
| Glass Elements | 4 elements | 6 elements | Multi-element | 3 HD elements |
| Filter Compatible | Yes (62mm) | Yes (67mm) | Yes (43mm outer) | Yes (67mm) |
| Flare Color | Blue | Blue | Gold | Blue |
| Field of View | ~105° | ~110° | 113° | 130° |
| Recommended App | Moment Pro | Moment Pro | Blackmagic Camera | Filmic Pro / Moment |
| Price Range | $149 | $199 | $130 | $140–160 |
| Best For | Run & gun vlogging | Narrative shorts | iPhone users on budget | Universal rig setups |
| Current Availability | Check Price | Check Price | Check Price | Check Price |
The Solution/Implementation
Which Lens Actually Fits Your Workflow
I’ve used all four lenses mentioned in this guide across multiple shoots. Here’s the breakdown, minus the marketing fluff:
Moment T-Series 1.55x — The “Don’t Screw This Up” Option
Who it’s for: You’re shooting narrative content where image quality is non-negotiable. Music videos. Spec ads. Festival submissions.
Why it works: Six glass elements. The sharpness holds edge-to-edge even when you’re shooting wide open in low light. The flares are controllable—strong enough to read on camera but they don’t veil the image or turn your actor’s face into a glowing blob.
The catch: At 105g, it’s the second-heaviest lens here. If you’re using a DJI OM or Zhiyun Smooth, you’ll need to rebalance carefully. I’ve had it work on a Smooth 5, but barely. Also, the 2.76:1 aspect ratio is aggressively wide. You need to leave headroom or you’re cropping skulls in post. Ask me how I know.
Real-world test: On Married & Isolated (2022), I used this for the climax scene—a slow push-in on the lead actor sitting in a parked car at dusk. The 67mm filter thread let me stack an ND8 and a Black Pro-Mist 1/4. The result looked like it came off an actual cinema lens, not a phone. The flare from the streetlight behind him gave this cold, detached mood that sold the emotional beat. I’ve since used it on three other projects. It hasn’t failed once.
Who shouldn’t buy it: Vloggers. Travel shooters. Anyone who prioritizes speed over perfection. The mount system (Moment’s M-Series bayonet) is fast, but you’re locked into their ecosystem. If you lose the case, you’re buying a $30 replacement just to mount the lens.
Moment 1.33x — The Run-and-Gun Workhorse
Who it’s for: You shoot fast, you shoot often, and you need something that mounts in two seconds without fiddling with threads.
Why it works: The bayonet mount is legitimately brilliant. Twist, click, done. At 85g, it’s light enough that most gimbals handle it without rebalancing. The 2.40:1 aspect ratio is the classic Hollywood widescreen—familiar, forgiving, and you’re not cropping heads unless you actively try.
The catch: Corner sharpness falls off compared to the T-Series. It’s not soft, but if you’re pixel-peeping or delivering for a 4K HDR workflow, you’ll notice. Also, blue flares. Some people love them (sci-fi, modern, clinical). I find them harder to integrate into warm-toned scenes. You can color-correct around it, but it’s extra work.
Real-world test: I used this on a corporate talking-head project where the client wanted “cinematic but not weird.” The 1.33x gave just enough widescreen character without feeling like a Blade Runner cosplay. We shot handheld, no gimbal, and the weight balance was perfect. Flares stayed subtle because we flagged the key light. The footage cut seamlessly with the standard phone lens in post. Zero complaints.
Who shouldn’t buy it: If you’re chasing the most dramatic widescreen look or you want warm flares, pass. Also, if you don’t already own a Moment case, you’re spending $179 total (lens + case). At that point, consider the T-Series.
Sandmarc 1.33x — The Gold Flare Wildcard
Who it’s for: iPhone users who want character without Moment’s price tag. Music video directors. Anyone shooting sunset/golden-hour content where warm flares enhance the mood instead of fighting it.
Why it works: The gold flares are distinctive. They don’t look like every other anamorphic phone lens on YouTube. If you’re building a visual brand or you want your work to feel warmer and more organic, this lens does that out of the box. At $130, it’s also the best value-per-dollar here if you’re on a budget.
The catch: Corner softness. It’s noticeable if you’re coming from Moment’s glass. The center stays sharp, but if your composition relies on edge detail, you’ll be disappointed. Also, the 17mm thread mount works with most cages, but Sandmarc’s own cases are phone-specific. If you upgrade your iPhone next year, you’re buying a new case.
Real-world test: I grabbed this for Married & Isolated as a backup (mentioned earlier). The gold flares saved the scene by adding warmth I didn’t plan for. I’ve since used it for a passion project music video where the entire aesthetic was late-afternoon natural light. The gold streaks on car windshields and windows gave this hazy, nostalgic texture that would’ve required a Tiffen filter and extra grading with the Moment lenses.
Who shouldn’t buy it: If you need clinical sharpness or prefer blue flares, skip it. Also, Android users—Sandmarc’s mounting options are iPhone-focused. You can make it work with a universal cage, but you’re better off with SmallRig at that point.
SmallRig 1.55x T-mount — The Universal Adapter
Who it’s for: Android users. Anyone who switches phones every year. Filmmakers who already use phone cages and rigging systems.
Why it works: The T-mount system is legitimately universal. SmallRig, Ulanzi, Beastgrip—if it has a 17mm thread, this lens mounts. At $140-160, you’re getting the 2.76:1 ultra-wide squeeze at half the price of Moment’s T-Series. The 130° field of view is the widest tested here, which is either a feature or a bug depending on your framing style.
The catch: Three glass elements instead of six. The sharpness is good, but it’s not T-Series good. Micro-contrast is lower, and if you’re grading aggressively, you’ll see it. At 113.5g, it’s the heaviest lens here, which matters if you’re using a smaller gimbal.
Real-world test: I used this on a Samsung S23 Ultra for a side project (documentary-style interview series). The T-mount cage made lens swaps fast, and the 2.76:1 frame gave this cinematic weight to static interview shots. The blue flares were clean, though slightly less refined than Moment’s coatings. For the price and flexibility, it delivered exactly what I needed. No surprises, no failures.
Who shouldn’t buy it: iPhone users locked into Moment’s ecosystem. If you already own Moment cases and lenses, adding SmallRig to the mix is redundant. Also, if you’re chasing absolute maximum sharpness, the T-Series beats this by a visible margin.
The De-Squeeze Workflow Nobody Warns You About
Here’s what actually happens when you shoot anamorphic on a phone:
- You record squeezed footage (tall and skinny).
- You import it into your editor.
- You manually change the pixel aspect ratio or apply a transform effect.
- You export at a custom resolution (2560×1080 for 2.40:1, or 3840×1600 for 2.76:1).
The problem: Most tutorials skip step 4. They tell you to “just export in 4K,” which either crops your frame or leaves black bars. Neither is correct.
DaVinci Resolve (The Right Way)
- Import squeezed footage.
- Right-click → Clip Attributes → Pixel Aspect Ratio → Custom.
- Enter your squeeze ratio: 1.33 or 1.55.
- Create a new timeline with a custom resolution:
- 2.40:1 (1.33x squeeze) → 2560×1080
- 2.76:1 (1.55x squeeze) → 3840×1391
- Drag your clip to the timeline. It’s now de-squeezed and ready to edit.
- Export at the timeline resolution.
Why this matters: If you skip the custom timeline resolution, your exported file will be letter-boxed or cropped. Streaming platforms don’t care, but festival submissions do. On Going Home, we delivered a 3840×1391 master for our DCP because the 2.76:1 frame was part of the visual language. Black bars would’ve killed the impact.
Premiere Pro (The “Good Enough” Method)
- Import squeezed footage.
- Right-click → Modify → Interpret Footage → Pixel Aspect Ratio → Conform to: Custom.
- Enter squeeze ratio: 1.33 or 1.55.
- Edit normally. Export in 4K with black bars, or use a custom export resolution.
The shortcut: Apply a Transform effect and scale Horizontal to 133% (for 1.33x) or 155% (for 1.55x). It works, but you’re manually scaling every clip. Not ideal for multi-clip timelines.
Mobile Editing: LumaFusion vs CapCut (The Real Talk)
If you’re editing on the train between sets, you need a mobile-first workflow.
LumaFusion (iOS/iPadOS, $29.99):
- Handles 1.33x de-squeeze natively. You can set a custom pixel aspect ratio in the project settings, and it applies globally.
- For 1.55x, you’ll need to manually scale clips to 155% horizontal. Tedious but doable.
- Export at custom resolutions: 2560×1080, 3840×1600, or any other spec you need.
- Real-world use: I edited rough cuts for Dogonnit on an iPad Pro during a cross-country flight. LumaFusion’s timeline performance was solid even with 4K HEVC clips. The final export matched the Resolve version frame-for-frame.
CapCut (iOS/Android, free):
- Great for social content. Terrible for pro work.
- No native de-squeeze support. You can manually scale clips, but the interface fights you. It’s designed for vertical video and TikTok transitions, not widescreen cinema.
- 1.55x squeeze is a nightmare in CapCut. The aspect ratio presets don’t include 2.76:1, so you’re manually cropping or exporting with black bars.
- The verdict: Use CapCut for quick Instagram posts. For anything else, pay for LumaFusion.
Filmic Pro / Moment Pro (The “Skip Post” Option)
Both apps support live de-squeeze. You see the correct widescreen aspect ratio while shooting, and the exported file is already stretched.
The upside: No post-production de-squeeze. Faster turnaround.
The downside: Slight resolution loss from in-app processing. If you’re delivering for a client or festival, shoot squeezed and de-squeeze in post for maximum quality.
Getting Flares That Don’t Look Like Mistakes
Horizontal flares are the signature anamorphic look, but they’re also the easiest to screw up. Here’s what actually works:
Light source angle: 45–90° from your lens axis. Straight-on lights give you veiling (bad). Side lights give you streaks (good).
Intensity control:
- Strong flare: Point directly at a bright source (streetlight, headlight, setting sun).
- Subtle flare: Place the light just outside the frame and let it kiss the edge of the lens.
- Kill the flare: Flag it with a lens hood, your hand, or a piece of black wrap.
Rotation: The front element on most anamorphic lenses rotates. Horizontal flares = front element aligned horizontally. If your flares are diagonal, rotate the lens until they’re level.
Real-world example: On Dogonnit (a comedy short), we needed a flare on a car headlight to punctuate a joke. I used the Moment 1.33x, positioned the actor so the headlight was 60° off-axis, and rotated the front element until the flare was perfectly horizontal. The streak stayed crisp without washing out the actor’s face. Total setup time: 90 seconds.
The mistake: Overhead lights. They produce vertical streaks, which breaks the anamorphic illusion. If you’re shooting indoors with ceiling fixtures, flag them or reposition your subject.
Gimbal Balancing (The Part That Breaks Beginners)
Anamorphic lenses shift your phone’s center of gravity. If you mount one and don’t rebalance your gimbal, you’ll get motor strain, wobble, or straight-up failure.
The process:
- Power off your gimbal.
- Mount the lens.
- Adjust the horizontal arm until your phone stays level without power.
- Adjust the vertical tilt until the lens doesn’t tip forward or backward.
- Power on and test. If the motors struggle, rebalance again.
Weight thresholds:
- DJI OM 5 / Zhiyun Smooth 5: Handles 85–105g (Moment 1.33x, T-Series, Sandmarc). The SmallRig 1.55x (113.5g) is borderline. Test before your shoot.
- Cheaper gimbals (sub-$100): Struggle with anything over 90g. Stick to the Moment 1.33x or Sandmarc.
Real-world failure: On an early test shoot for Beta Tested (2018), I tried mounting a third-party anamorphic lens (heavier than these) on a $60 gimbal. The motors overheated after three takes. Lesson learned: if your gimbal costs less than your lens, something’s wrong.
The Verdict (No-BS Summary)
If you’re shooting narrative work and image quality matters: Moment T-Series 1.55x. It’s the most expensive, but the sharpness and flare control are unmatched in this category.
If you’re a vlogger or run-and-gun shooter: Moment 1.33x. The bayonet mount and light weight make it the fastest option. Classic 2.40:1 frame is forgiving.
If you’re an iPhone user on a budget: Sandmarc 1.33x. Gold flares give you a unique look, and at $130, it’s the best value for iPhone-specific workflows.
If you’re on Android or you switch phones often: SmallRig 1.55x. Universal T-mount compatibility means you’re not locked into one brand. Solid image quality for the price.
If you’re just “trying out” anamorphic: Rent before you buy. Borrow a friend’s lens. Shoot a test project. The workflow commitment (de-squeeze, color grading, gimbal balancing) is real. Make sure you actually need this look before dropping $130–$200.
Wrap-Up
Anamorphic phone lenses are tools, not magic. They give you wider framing, horizontal flares, and oval bokeh—but they also require you to shoot manually, de-squeeze in post, and rebalance your gimbal. If you’re chasing a specific aesthetic for narrative work, they’re worth it. If you’re not, they’re expensive friction.
The Moment T-Series is the best lens here. The Sandmarc is the best value. The SmallRig is the most flexible. Pick based on your actual shooting needs, not which one looks coolest in B-roll footage.
And if you’re still not sure, here’s the test: shoot your next project with your phone’s native lens. If the 16:9 frame feels limiting and you keep wishing for horizontal flares, then buy anamorphic. If you don’t miss it, you just saved $200.
📊 At a Glance: Top Anamorphic Lenses Compared
Quick summary of key specs and best use cases for each lens
Moment 1.33x
Best for VloggingMoment T-Series 1.55x
Best OverallSandmarc 1.33x
Budget PickSmallRig 1.55x
Universal FitBuying Guide & FAQ
Which anamorphic lens should you buy?
You should buy the Moment T-Series 1.55x if:
- You shoot narrative shorts, music videos, or commercial work
- Image quality is your top priority
- Budget allows for $199 investment
- You love the ultra-wide 2.76:1 format and blue flares
You should buy the Moment 1.33x if:
- You want professional quality with faster shooting speed
- The classic 2.40:1 format suits your work
- You shoot run-and-gun or travel content
- You need gimbal compatibility with Moment’s quick-mount system
You should buy the Sandmarc 1.33x if:
- You’re an iPhone user who wants quality without Moment pricing
- You love the distinctive gold flare aesthetic
- Budget is around $130
- You want the classic 2.40:1 cinema format
You should buy the SmallRig 1.55x if:
- You want the dramatic 2.76:1 format at a lower price than Moment
- You use phone cages and rigging accessories
- You’re an Android user or switch between phones
- Universal T-mount compatibility is important to you
Do anamorphic lenses work on all phones?
Yes, with the right mounting system. iPhones work best with Moment’s bayonet system via their cases. Android phones need universal cages with filter threads (SmallRig, Ulanzi, Beastgrip). The key is mounting the lens directly over your phone’s main (wide) camera lens with precise alignment.
Can you use anamorphic lenses with phone gimbals?
Yes, but you’ll need to rebalance your gimbal after attaching the lens. Lighter options (Ulanzi 1.33x PRO at 78g, Moment 1.33x at 85g) work great with standard phone gimbals like DJI Osmo Mobile 6 or Zhiyun Smooth 5. Heavier lenses may exceed gimbal weight limits. Always test balance before important shoots and turn off digital stabilization in your camera app.
How do you get anamorphic flares on a phone?
Point your lens toward strong light sources (sun, practicals, LEDs) at 45-90° angles. The horizontal flare orientation depends on how you’ve rotated the lens’s front element—most smartphone anamorphics let you loosen and twist the front ring to adjust. Use the Moment app or Filmic Pro with focus peaking to fine-tune light positioning. Experiment with different angles and intensities; even subtle edge-flares add cinematic feel.
What's the difference between 1.33x and 1.55x squeeze?
1.33x squeeze produces a 2.40:1 aspect ratio after de-squeeze—the same format as most Hollywood movies (Dune, Top Gun: Maverick). It’s easier to frame and more forgiving for handheld work.
1.55x squeeze creates an ultra-wide 2.76:1 ratio similar to 70mm epic films and ultra Panavision. It looks more dramatic but requires careful headroom management and more vertical space when shooting. Flares and bokeh effects are slightly more pronounced.
Are cheap anamorphic phone lenses worth it?
Budget options under $50 (generic Amazon brands) typically suffer from severe softness, heavy chromatic aberration, poor coatings, and flimsy mounts. They technically create anamorphic squeeze but image quality is poor.
The Ulanzi 1.33x PRO ($89-119) is the cheapest option we can recommend—it delivers usable image quality with recognizable anamorphic characteristics. For paid client work or projects you’ll watch years later, invest in Moment or Moondog Labs.
Do you need special apps to shoot anamorphic?
Not technically, but you’ll want them. Your phone’s native camera app will record squeezed footage, but you won’t see a live de-squeezed preview, and you’ll lack manual controls for focus, exposure, and white balance.
Recommended apps:
- Moment Pro Camera — Best for live de-squeeze preview and LOG recording
- Filmic Pro — Industry-standard manual controls and anamorphic presets
- Blackmagic Camera (iOS) — Free, professional controls, RAW recording
You can always shoot squeezed and de-squeeze later in editing software.
Will anamorphic lenses work with my phone case?
Moment lenses require Moment’s own cases with built-in bayonet mounts—you’ll need to swap your existing case. Sandmarc offers phone-specific cases sold separately for iPhone 13-16 Pro models with integrated 17mm threading. SmallRig works with universal T-mount cages that clip or screw onto any phone, so you can keep your case underneath. The tradeoff: Moment’s bayonet is fastest to attach/detach, Sandmarc balances speed and cost, while SmallRig’s T-mount is most versatile across devices.
How do you clean anamorphic phone lenses?
- Use a rocket blower to remove dust (never wipe dry glass)
- Apply 1-2 drops of lens cleaning solution to a microfiber cloth (never directly on lens)
- Wipe gently in circular motions from center outward
- Use lens pen for stubborn smudges
- Store in protective case when not shooting
Never use: Paper towels, your shirt, household cleaners, compressed air cans (too much pressure).
Can you stack filters with anamorphic phone lenses?
Yes, all four lenses tested accept screw-on filters:
- Moment 1.33x: 62mm threads
- Moment T-Series 1.55x: 67mm threads
- Sandmarc 1.33x: 43mm threads (outer)
- SmallRig 1.55x: 67mm threads
Recommended filters: Variable ND (2-5 stops) for outdoor shooting, polarizers for glare control, diffusion filters (1/8 Black Pro-Mist) for softer highlights.
Warning: Stacking multiple filters increases vignetting risk. Test before critical shoots.
What's the difference between blue and gold flares?
Blue flares (Moment, SmallRig) give a cooler, modern sci-fi aesthetic—think Blade Runner 2049 or Dune. Gold flares (Sandmarc) produce a warmer, vintage cinematic feel similar to classic anamorphic films from the 70s-80s. Choose based on your project’s mood: blue for contemporary/futuristic, gold for nostalgic/organic warmth.
The “PeekatThis” Bio & Closing
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About the Author:
Trent Peek is a director, producer, and actor who spends way too much time staring at monitors. While he’s comfortable with high-end glass from RED and ARRI, he still has a soft spot for the Blackmagic Pocket and the “duct tape and a dream” style of indie filmmaking.
His recent short film, “Going Home,” was a selection for the 2024 Soho International Film Festival, proving that sometimes the “lessons from the trenches” actually pay off.
When he isn’t on set, Trent is likely traveling (usually forgetting at least one essential pair of shoes), falling asleep two pages into a book, or brainstorming film ideas that—let’s be honest—will probably never see the light of day. It’s a mess, but it’s his mess.
P.S. Writing this in the third person felt incredibly weird.
Connect with Trent:
- Watch: YouTube | [Vimeo]
- Credits: [IMDB] | [Stage 32]
- Social: Instagram @trentalor | [Facebook @peekatthis]
- Hear him talk shop: Check out his guest spot on the Pushin Podcast discussing the director’s role in indie film.
Business Inquiries: trentalor@peekatthis.com