Squeezing the Most Out of the Moment 1.33x Anamorphic Adapter

This brings me to the Moment 1.33x Anamorphic adapter. An incredible (and affordable) piece of gear that transforms 16:9 video to Cinemascope 2.35:1 format. It also has a wonderful white flare (instead of blue).

I often find the most pleasure in episodic or documentary work when it's just me, the camera, and the subject. This minimalist approach removes obstacles and allows the story to take center stage. I've long relied on spherical Zeiss ZE prime lenses for such work. They offer a crisp image quality that's visually appealing without being overly sterile, and they perform remarkably well for their cost, even though they're not the latest models.

Of course, the Moment Adapter has limitations, but when used with the Sony FX3, it dramatically changes the ZE lenses' visual output in a way that hits a huge sweet spot for me.

It’s a big chunk of glass, so pretty immediately, you have to start thinking about rod support. But I’ve found that the 50mm 1.4 (with Clearview 1.1x engaged) doesn’t need it since it’s so small.

I first tested the lens adapter during a trip to Utah's desert mountains, where I was filming an episode with my friend Alex. I kept the setup simple, using an EVF eyepiece and a microphone.

The image quality results were quite stunning and exactly what I was looking for to bring more character to the piece without straying too far into an unintelligible aesthetic.  However, I did face a significant challenge: a lot of the footage needed stabilization in post-production due to the unbalanced nature of the setup. Warp stabilization in post took care of it, but it’s not something I’d do again.

After seeing what the adapter could do, I used it for an even more ambitious project.

Weeks later, we were in Italy for a film featuring a vintage Nissan Le Mans R390 GT1 car. We had a test track for ourselves and Guilia Quadrafolgio available as our chase car. Normally, with a small budget, we wouldn’t even think of trying to do car-to-car, but by borrowing several things from our Alexa Mini build, we decided to give it a shot with the Tilta Hydra Alien, Movi Pro, Teradek, and Nucleus.

Our primary concerns were safety and the potential for equipment to detach from the camera car. Additionally, we questioned whether the Moment adapter would maintain its alignment given the high-speed conditions. Remarkably, it remained stable throughout the shoot.

We managed to exceed 130mph on straightaways and, thanks to meticulous rigging, maintained impressive control even around corners. Integrating the track footage with well-lit garage scenes and picturesque shots featuring the talent, we achieved an exceptional outcome that garnered attention from Nissan.

Our next project presented a different theme but was equally effective in showcasing the capabilities of our setup

We configured the camera for traditional documentary work for this more intimate, culinary-themed film shot in Denmark. Given Copenhagen's natural beauty, we aimed to capture expansive, scenic shots. Initially, I anticipated that the intense midday sun might hinder our monitoring capabilities, prompting me to connect the EVF to the LCD — but we did not need it at all.

By this point, Oli, our Director of Photography, had grown more comfortable pulling focus manually instead of using a wireless system. During this third project, I felt we truly began to harness the full potential of the Moment adapter.

The Moment Adatper completely defines each of these films’ looks.  Having previously shot extensively with only the Zeiss lenses, introducing the adapter added a new dimension to our visuals. For me, it introduces the ideal level of distortion and flare, enhancing the images without being excessive, making it perfect for these dynamic, on-the-go films that demand a unique aesthetic.

In an ideal world with unlimited funds, our first choice would be an Alexa Mini with a Kowa EVO 2x setup. However, operating on a much smaller budget, the combination of the FX3 and Moment yields an image quality so high that I believe 95% of viewers would struggle to notice a significant difference.

The Adapter has become an essential piece of kit for me, and I’m thrilled to let it continue to define the look of my films.