Best Phone Anamorphic Lenses (2026): Moment vs Sandmarc vs SmallRig
Night three on Married & Isolated, 2:47 AM, one practical lamp, a breakup scene in a room too small for a crew. I need a horizontal flare without blowing out my actor’s face.
The Moment 1.33x I’d shot with all week is back at base camp. The backup is the Sandmarc 1.33x from the PA’s bag, and it doesn’t thread onto anything I’m holding. It has its own case and clip, so I swap the mount setup on the iPhone 12 and keep rolling.
The flare comes out gold. I’d planned for blue. We’re losing darkness, sunrise is coming, so I shoot it anyway. In the grade, the warm streak does more for the scene than my plan did.
That’s the part nobody tells you about phone anamorphic: the wrong choice sometimes beats the right one. But only if you know why you picked each lens, and which mount it needs to survive a 3 AM lens swap.
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For most filmmakers, the best phone anamorphic lens is Moment’s 1.33x T-Series: a 2.40:1 frame, forgiving edges, and fast mounting on iPhone and Pixel cases. Choose a 1.55x for a wider 2.76:1 look. Sandmarc suits iPhone case users, and SmallRig’s T-mount lens suits cage rigs. Every option needs a de-squeeze step.
Do You Actually Need a Phone Anamorphic Lens?
Probably not. A phone anamorphic lens earns its cost on narrative shorts, music videos, and spec ads where the wide frame supports the story. For talking heads and social clips, it adds workflow without adding anything the audience notices.
If you shoot YouTube talking heads or Instagram reels, the 2.40:1 frame and horizontal flares are aesthetic debt. You take on de-squeezing, extra color work, and a bulkier rig for a look a 6-inch screen barely shows.
The width does real work in the right story. On Going Home we shot on a RED with Atlas Orion anamorphic glass because the film was about a woman moving through spaces that dismissed her, and the wide frame held her and the world in one shot. I break down that decision in Anamorphic Lenses Explained. A phone lens can borrow that frame. It cannot borrow the glass.
On Married & Isolated, the width helped a different way: a tight living room that needed to feel like a place two people couldn’t leave. On Two Brothers One Sister, another all-iPhone project shot with mobile anamorphic glass, the wide frame meant paying closer attention to lateral blocking so actors didn’t crowd the margins.
Common Beginner Mistake: Buying the lens before you check the mount. The most expensive phone anamorphic mistake isn’t the glass. It’s the lens that won’t fit your case, which then lives in a drawer.
Who should NOT buy one: anyone who won’t change their workflow. Without a de-squeeze app or an edit step, your footage looks tall and skinny. If your story doesn’t need width, spend the money on light or audio first, like the ones in my phone audio guide.
Which Phone Anamorphic Lens Should You Buy?
Buy the Moment 1.33x for most shoots. Step up to the Moment 1.55x if you want the widest 2.76:1 frame and can compose for it. Choose Sandmarc if you already live in a Sandmarc case, and SmallRig if you build around a T-mount cage.
| 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 |
Which one fits which job?
- Narrative shorts and music videos where image quality leads: Moment 1.55x. Moment calls the 1.55x its boldest squeeze, with stronger flares and slightly more softness at the margins.
- Fast shooting, mixed projects, a first lens: Moment 1.33x. Less edge distortion, and the case mount is quick.
- iPhone shooters already in a Sandmarc case: Sandmarc 1.33x. The gold flare comes out of the box.
- Cage-based rigs on T-mount: SmallRig 3578B, after you confirm your cage’s mount.
Who should NOT buy each:
- Moment: anyone unwilling to adopt Moment’s case or mount system.
- Sandmarc: Android users. Its cases are iPhone-specific, so check that your exact iPhone model has an edition before you order.
- SmallRig: anyone on a 17mm-thread cage, or anyone with a gimbal near its payload limit.
I haven’t tested cheaper clip-on options for this guide. In my Moment lenses review, a SIRUI clip mount slipped mid-gimbal move, which is why I don’t trust a clip with real glass on a paid shoot.
Budget Reality: The lens is the smallest line on the bill. Add the case or mount, the 67mm filter mount Moment sells separately, a variable ND filter, and a de-squeeze app (Moment Pro Camera is $9.99 on iPhone, Blackmagic Camera is free), and a $150 lens becomes a $270 to $330 rig before you shoot outdoors. Rent first if you shoot two projects a year.
1.33x or 1.55x: Which Squeeze Do You Need?
Pick 1.33x for a classic 2.40:1 frame that’s easier to shoot. Pick 1.55x for a dramatic 2.76:1 frame with more edge distortion. Both widen the frame horizontally only; vertical field of view doesn’t change.
A 1.33x lens adds about 33 percent more horizontal field of view. A 1.55x adds about 55 percent. Your height framing stays the same as the native lens. That matters, because the problem with a squeezed monitor image isn’t lost headroom. It’s that everything looks tall and skinny until you de-squeeze, which makes framing a guess.
Moment’s own spec pages list barrel distortion of about -18 percent for the 1.33x and about -37 percent for the 1.55x T-Series. Those figures come from the first-generation T-Series pages, and I haven’t seen published numbers for Lens II, so treat them as unverified until someone shoots a test chart. The practical rule holds either way: keep faces away from the edges of a 1.55x frame, because edge-of-frame faces stretch.
| Metric / Feature | 1.33x Squeeze | 1.55x Squeeze |
|---|---|---|
| Aspect After De-Squeeze (16:9 Source) | About 2.40:1 | About 2.76:1 |
| Horizontal Field of View Gain | About 33% | About 55% |
| Edge Behavior (per Moment) | Less distortion | More distortion, softer margins |
| Feels Like | Familiar widescreen | Ultra-wide letterbox |
Will It Fit Your Phone? Mounts, M-Series vs T-Series, and 17mm Threads
Moment's M-Series lenses don't fit iPhone 17 cases, and Lens II requires a T-Series mount. SmallRig's lens needs a T-mount, not a 17mm thread. Match the mount to your phone before you compare flares.
| Your phone | Moment | Sandmarc | SmallRig |
|---|---|---|---|
| iPhone 12 through 17 | Case with drop-in mount (T-Series for iPhone 17) | Phone-specific case; Sandmarc lists dedicated iPhone 16 editions and an iPhone 17 collection | T-mount cage, case, or included lens clip |
| Pixel 9 Pro / 9 Pro XL, Pixel 8 Pro | Case with drop-in mount | Not iPhone-case compatible | T-mount cage, case, or clip |
| Pixel 7 Pro | Stick-on mount | Not iPhone-case compatible | T-mount cage, case, or clip |
| Samsung and others | Universal mount (alignment risk) | Universal clip, iPhone-focused | T-mount cage, case, or clip |
A few mount facts that cost people money:
- Moment generations don't mix. Moment says T-Series lenses work across all iPhone 17 cases and that its iPhone 17 case isn't compatible with older M-Series lenses. A retailer listing also says the Lens II isn't compatible with the T-Series 1 Universal Lens Mount, so confirm on Moment's page before you buy a mount.
- SmallRig is T-mount, not 17mm. SmallRig lists the 3578B as standard T-mount and says it works only with devices that have a T-mount interface. A 17mm-thread cage or case won't take it. The lens clip is included, and SmallRig warns that misalignment on the clip causes vignetting.
- Moment's 67mm filter thread isn't built in. You add 67mm filters through a filter mount that Moment sells separately.
For the full M-Series vs T-Series warning and what a mismatched lens does to your corners, see my smartphone lenses guide.
Blue, Gold, or Neutral: Which Flare Look Fits the Scene?
Choose blue for cooler, modern scenes, gold for warm and nostalgic light, and neutral when you want flare that follows the light’s color. Moment now sells all three looks; Sandmarc’s 1.33x is gold and SmallRig’s 1.55x is blue.
Moment’s Lens II range offers PanaBlue (a softer, classic blue), Gold42 (warm amber and gold streaks), and Natural (neutral flares that follow the light source). Sandmarc’s 1.33x has a gold flare, and its 1.55x is blue. SmallRig’s 1.55x produces a blue flare.
Flare angle matters more than flare color. Side lights at roughly 45 to 90 degrees to the lens give streaks. Straight-on lights give veiling, which washes out the frame. Overhead fixtures give vertical streaks, which break the effect, so flag them or move your subject.
On Dogonnit, a comedy short, we needed a flare to punctuate a joke. I used the Moment 1.33x, put the headlight about 60 degrees off axis, and rotated the lens until the streak ran level. It stayed crisp without washing out the actor’s face. Setup time: 90 seconds.
The Lenses, One by One
All four lenses are usable. The right one depends on your phone, your mount, and whether you want width or forgiveness.
Moment Anamorphic 1.33x (Lens II, T-Series)
- Best for: a first anamorphic lens; run-and-gun and mixed work.
- Honest drawback: you need Moment’s case or mount, and filters need a separately sold mount. Without ND outdoors, it overexposes.
- Who should NOT buy it: anyone unwilling to adopt the Moment mount system.
- Real production use case: I used the 1.33x on a corporate talking-head project where the client wanted “cinematic but not weird.” It gave enough widescreen character without feeling like a costume. We shot handheld, flagged the key light to keep flares subtle, and it cut cleanly with the standard phone lens.
- Budget alternative: a first-generation 1.33x T-Series on clearance. Verify mount compatibility with Lens II first.
Moment Anamorphic 1.55x (Lens II, T-Series)
- Best for: narrative shorts, music videos, and festival work where width is the point.
- Honest drawback: more edge distortion and softer margins than the 1.33x, per Moment.
- Who should NOT buy it: anyone shooting close-ups near the frame edge, or anyone not ready to compose for 2.76:1.
- Real production use case: on Married & Isolated (2022) I used this for the climax: a slow push-in on the lead sitting in a parked car at dusk. With Moment’s 67mm filter mount, I stacked an ND8 and a Black Pro-Mist 1/4. The streetlight flare behind him gave a cold, detached mood. I’ve used it on other projects since, and it hasn’t failed on a shoot.
- Budget alternative: the Moment 1.33x.
Sandmarc Anamorphic 1.33x
- Best for: iPhone shooters who want a gold flare out of the box.
- Honest drawback: the case is phone-specific. When you upgrade your iPhone, you need a new case. In my use, the corners are softer than Moment’s.
- Who should NOT buy it: Android users, and anyone whose iPhone model doesn’t have a Sandmarc edition yet.
- Real production use case: that backup lens from the hook saved the scene with warmth I hadn’t planned. I’ve since used it on a passion-project music video built around late-afternoon light, where gold streaks on windshields and windows gave a hazy, nostalgic texture.
- Budget alternative: none I can verify.
SmallRig 1.55x T-Mount (3578B)
- Best for: cage rigs already built around T-mount.
- Honest drawback: at 113.5g it’s the heaviest lens here, and the clip must be perfectly aligned or you get vignetting.
- Who should NOT buy it: anyone on a 17mm thread system, or anyone near a gimbal’s payload limit.
- Real production use case: I used it on a Samsung S23 Ultra for a documentary-style interview series. The T-mount cage made lens swaps fast, and the 2.76:1 frame gave static interviews real weight. The blue flares were clean, though a little less refined than Moment’s coatings.
- Budget alternative: none verified.
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 |
Does an Anamorphic Lens Make Phone Autofocus Hunt?
It can. In my experience, phone autofocus pulses with a clip-on anamorphic, especially in close-ups and when a subject crosses a flare. Switch to manual focus, pre-focus on the mark, and shoot wide enough to survive a miss.
On Dogonnit we had a scene where the actor leans into frame with a car headlight behind him. The Sandmarc gold flare looked good, but every time he moved, the autofocus pulsed. That kind of focus breathing reads as amateur even when everything else is right. The fix was manual focus in Filmic Pro. It added about 10 minutes to every setup.
I’m describing what I saw, not claiming a cause. What I can say is that anyone not comfortable pulling focus by hand shouldn’t buy one of these lenses. You can’t fix soft focus in post.
Production Reality: Pre-focus on the mark the actor will hit, lock focus and exposure, and shoot slightly wider than the final frame. A missed focus pull on a tight shot costs more than 10 minutes on set. It costs the take.
Do You Need an ND Filter?
Yes, if you shoot outdoors in daylight. A phone’s fixed aperture and shutter ceiling will overexpose with a bright scene and a clear anamorphic lens, so budget for a variable ND filter when you budget for the lens.
Moment sells 67mm filter compatibility through a separate Anamorphic Lens Filter Mount, which runs roughly $25 to $40. That means the “67mm filter” spec is a cost, not a feature. With a quality variable ND on top, the total lands around $80 to $120. Verify current prices at publish.
Stacking filters raises the vignetting risk, so test before a paid shoot. A Black Pro-Mist 1/4 and an ND8 worked on the car scene I described above, but I tested that rig before the scene, not during it.
Will It Overload Your Gimbal?
Often, yes. A phone in a case already uses most of a standard gimbal's payload, and a 60 to 115g lens can push you past it. Weigh your full rig and compare it to the gimbal's rated payload before you buy.
Cinema anamorphic and phone anamorphic are different problems, so keep them separate. On Beta Tested I put a heavy third-party cinema anamorphic rig on a Sony a7S III, mounted on a DJI Ronin-S. The front-heavy glass threw off the tilt-axis balance. The motors strained, overheated, and the gimbal drifted after roughly 20 minutes of continuous use. I didn't notice until the shot started sliding mid-take.
Phone glass is far lighter, but the same logic applies. My gimbal guide puts an iPhone 17 Pro Max at roughly 290g in a case, against a 300g payload on the DJI Osmo Mobile 8 and 500g on the Hohem iSteady M7.
| Lens | Lens weight | Phone and case (about) | Estimated rig | Against a 300g gimbal |
|---|---|---|---|---|
| Moment 1.33x (Lens II) | 62g | about 290g | about 352g | Over |
| Moment 1.55x (Lens II) | 62g | about 290g | about 352g | Over |
| Sandmarc 1.33x | 68g | about 290g | about 358g | Over |
| SmallRig 1.55x | 113.5g (plus or minus 5g) | about 290g | about 404g | Over |
Estimates use the gimbal guide's phone weight and exclude mount hardware, ND, and mics. Lighter phones leave more headroom. Check each gimbal's published payload.
What Audiences Actually Feel: Nobody in the audience sees your squeeze ratio. They feel whether the frame is steady and intentional. A gimbal working at its limit gives you drift, and drift reads as a mistake, even in a beautiful anamorphic frame.
Rebalance every time: power off, mount the lens, slide the phone until it sits level without power, then test. If the motors struggle, you're over. Move to a higher-payload gimbal like the Hohem M7, or shoot handheld and accept the shake.
How Do You De-Squeeze Phone Anamorphic Footage?
Record in an app that previews the de-squeeze, confirm what it actually saves, then set the clip’s pixel aspect ratio in your editor and build a timeline at your delivery size. Skip the timeline step and you’ll deliver letterboxed or cropped files.
Your phone’s native camera app records the footage squeezed. Moment Pro Camera (iPhone) and Blackmagic Camera give a live de-squeezed preview. Moment’s older guide says the in-app anamorphic setting previews the de-squeeze but may not save a de-squeezed file unless you apply the de-squeezed file option. Moment’s current product page says there’s “no post work.” Test your app version once and write down what you get.
DaVinci Resolve:
- Import the squeezed clip.
- Right-click the clip, choose Clip Attributes, and set Pixel Aspect Ratio to the anamorphic preset that matches your lens. Pick the standard anamorphic preset, or choose Custom and enter 1.33 or 1.55. Moment’s guide names a “1.3x Anamorphic” preset for 1.33x lenses.
- Build a timeline that matches the de-squeezed aspect ratio.
- Export at the timeline resolution.
Premiere Pro: import the clip, right-click, choose Modify then Interpret Footage, and conform the pixel aspect ratio to 1.33 for a 1.33x lens. Choose Conform to Custom and enter 1.55 for a 1.55x lens. The fallback is scaling the clip horizontally to 155 percent, which works but is manual on every clip.
Pick one resolution rule. A 3840-wide source de-squeezed at 1.33x is about 5107 wide. At 1.55x it’s about 5952 wide. If you deliver at 3840 wide, that’s 3840×1620 for 1.33x (about 2.37:1) and 3840×1391 for 1.55x (2.76:1). Those are custom timeline sizes, not festival containers.
Festival delivery is a different spec. On Going Home, our festival DCPs used the DCI 4K Scope container (4096×1716). A 2.76:1 phone master doesn’t fill that container. It sits inside 4096 wide with bars top and bottom. A custom export like 3840×1391 is a timeline size, not a projection container, so talk to your mastering house before you promise a festival a native 2.76:1 master.
I cut rough Dogonnit edits in LumaFusion on an iPad Pro on a flight. LumaFusion is $29.99 on the iOS App Store at the time of writing, so verify before you buy. For mobile-first posting, check what your editor supports before you shoot.
What Changes on Set for Directors, Operators, and Actors?
The wider frame changes where people stand, not how tall the shot is. Directors stage along the horizontal, operators watch the frame edges, and actors keep clear of the edges where faces stretch.
Director: a 2.76:1 frame lets two characters stand far apart and share a shot. Use that on purpose. In a tight room, the width makes the space feel crowded or isolating, which is why it worked in a small living room on Married & Isolated.
Operator: vertical framing doesn’t change, but the squeezed monitor looks tall and skinny until you de-squeeze. Use a de-squeeze preview, and check the edges. Moment lists more distortion on the 1.55x, so edge faces stretch most there.
Actor: you may find the operator closer and the rig bulkier than a bare phone. A heavy rig held by a nervous operator changes a performance. I’ve acted opposite a scene partner who operated an iPhone; the handheld-versus-gimbal story is in my gimbal guide. Anamorphic adds one more thing: stand away from the edges.
Key Takeaways
- Buy the Moment 1.33x first, and step up to the 1.55x only when you want 2.76:1 and can compose for it.
- Check your mount before you check flare color: M-Series won’t fit iPhone 17 cases, and SmallRig is T-mount, not 17mm thread.
- The squeeze widens the frame horizontally only, so height framing stays the same.
- Budget for the case or mount, a 67mm filter mount, and variable ND on top of the lens price.
- Weigh your full rig against your gimbal’s payload, because a phone in a case plus a lens often passes 300g.
- Test your app’s de-squeeze behavior once, and pick one delivery resolution rule.
Buying 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.
Conclusion
The best phone anamorphic lens for most filmmakers is the Moment 1.33x: a classic 2.40:1 frame, forgiving edges, and a fast case mount. The Moment 1.55x is the step-up for 2.76:1 narrative work, Sandmarc fits iPhone shooters already in its case, and SmallRig fits T-mount cage rigs.
The production reality is that the lens is the easy part. The mount, the ND filter, the gimbal payload, and the de-squeeze step are where phone anamorphic goes wrong, and they cost you takes, not just money.
If you’re just starting out, rent or borrow a 1.33x, shoot one test scene, and see whether you’ll commit to the workflow. If you’ve already bought the wrong mount or overloaded your gimbal, fix those before you buy another lens. Audiences never ask about the squeeze ratio. They notice whether the frame feels like a choice.
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About the Author
Trent Peek is a filmmaker, writer, and producer based in Victoria, BC, and the founder of PeekAtThis.com. His production credits include set decoration on Netflix’s Maid, and writing/directing Going Home (2024 Soho International Film Festival) and Noelle’s Package (48-hour festival winner, shot on smartphone). He’s also a former President of Cinevic, Victoria’s Society of Independent Filmmakers, and works as a doorman at a four-star hotel — a job that’s taught him as much about reading people under pressure as any film set has.
When he’s not writing articles, testing gear, or working on film projects, Trent enjoys traveling, reading, exploring new technology, and developing future film ideas — many of which may never leave the notebook stage.
P.S. Writing in the third person still feels weird.
Trent recently appeared on the Pushin Podcast — listen to the full episode — where he discussed independent filmmaking, directing actors, production challenges, and lessons learned from working in film.