For decades, the cinematic appeal of anamorphic shooting was reserved for big-budget productions and teams with larger resources. Heavy, costly lenses, along with the technical challenges of handling them, made it impractical for most independent filmmakers—especially single-shooter projects. Enter the LUMIX GH7 and the Laowa Nanomorph 1.5x anamorphic lens. These tools have transformed the field, making it easier than ever for a single shooter to create an anamorphic documentary.
When photographer, filmmaker and LUMIX Ambassador Ben Staley set out to create Jou-Jou, a visually captivating short project centered around professional yo-yoing, he embraced this new reality. Armed with the compact GH7 and a 20mm Nanomorph lens, he captured the artistry of yo-yoing with both clarity and cinematic style in ARRI LogC3. Staley transformed what might have been a niche concept into a compelling visual narrative, all while operating as a solo shooter.
"Jou Jou", a captivating short film by Ben Staley, was brought to life using the LUMIX GH7 paired with the Laowa Nanomorph 1.5x 20mm anamorphic lens.
Staley’s inspiration for Jou-Jou came from his longtime friend, Mark McBride, a legend in the yo-yoing community. Decades ago, McBride had shot low-fi yo-yo videos using a Canon XL1, which he often lent to Staley to shoot his own films. For a reunion project, Jou-Jou, Staley wanted to retain that authenticity but elevate it with modern technology, blending the best of both worlds.
“I thought it would be cool to show up with an anamorphic lens and a modern camera to shoot some really fancy-looking footage,” Staley said. “It’s something we couldn’t have even dreamed of doing 20 years ago.”
Staley drew inspiration for "Jou Jou" from his longtime friend Mark McBride (pictured), a legendary figure in the yo-yoing world.
The LUMIX GH7: A Solo Filmmaker’s Dream
The GH7 became the cornerstone of Jou-Jou’s production. Known for its compact size and advanced features, the GH7 is tailor-made for single operators. For Staley, its ability to shoot 240 frames per second in 1080p was critical to capturing the fast-paced movements of the yo-yos. Each second of real-time action was transformed into 10 seconds of slow-motion, revealing more detail.
“The slow-motion capability was perfect for capturing the incredibly fast movements of the yo-yos and their fingers,” Staley explained. “It allowed us to see the artistry in their movements that might otherwise go unnoticed.”
What made the GH7 particularly unique for Staley was its ability to de-squeeze anamorphic footage for him to view directly in-camera. This eliminated the need for external monitors and gave him real-time feedback while framing his shots. He described it as a “game-changer,” especially for a single-shooter working without a crew.
The GH7’s unique de-squeeze feature allowed Staley to view anamorphic footage directly in-camera.
The Laowa Nanomorph 1.5x Lens: Anamorphic Made Accessible
Traditionally, anamorphic lenses have been heavy, expensive, and unwieldy—factors that kept them out of reach for many independent filmmakers. The Laowa Nanomorph 1.5x lens changes that narrative. Compact, lightweight, and affordable, it delivers the stunning cinematic qualities of anamorphic shooting while being easy to handle and perfect for on-the-go filmmaking. With options for different lens mounts and colored flares—amber, blue, and silver—it also allows filmmakers to craft a unique anamorphic look, adding an extra layer of creative expression to every shot. The GH7’s versatile squeeze factors and Laowa’s optical performance allowed Staley to capture a cinematic look without compromising mobility or budget.
The compact, lightweight Laowa Nanomorph 1.5x lens brings cinematic anamorphic quality to on-the-go filmmaking.
The lens’s silver flare added a unique visual touch, particularly in outdoor shots where Staley aimed directly into the sun. With a T2.2 aperture at 240-fps, he did not use ND filters, adjusting the lens to f/5.6 or f/8 for optimal exposure in bright conditions. Its sturdy build and intuitive manual focus design made it an ideal companion for run-and-gun filmmaking. “The build quality of the Nanomorph is outstanding,” Staley said. “It’s small, sturdy, and easy to use, even without attachments like a follow focus.”
Together, the GH7 and Nanomorph lens created a setup that would have been unthinkable just a few years ago—a single-shooter rig capable of producing high-quality anamorphic footage with minimal gear.
"The GH7 offers everything I need as a professional filmmaker. From anamorphic de-squeeze to image stabilization, it’s all built into this tiny package. That’s something you don’t see with other systems."
Filmmaker Ben Staley
Pushing the Boundaries for Solo Creators
With the GH7 and Nanomorph lens, Staley worked very efficiently and was surprised that he had shot the entire short in less than an hour. Using the GH7’s focus peaking and exposure tools, he ensured every shot was precise. Despite the short shoot, he captured over five hours of footage thanks to the high frame rates of the camera.
The Sepulveda Dam, a popular Los Angeles film location, provided a striking backdrop. Its reflective concrete slabs added natural light bounce, illuminating the subjects’ faces without additional lighting equipment. The GH7’s dynamic range ensured the footage captured both the bright sky and the finer details of the yo-yoers’ expressions.
The biggest challenge of the shoot was capturing the fast, unpredictable movements of the yo-yos while maintaining the cinematic aesthetic of anamorphic shooting. Staley often laid on his back on the ground, shooting upwards to keep the yo-yos in frame while adding dramatic perspective. The GH7’s image stabilization played a crucial role, allowing him to hold steady shots even with the manual cine lens. Like many LUMIX cameras, the GH7 includes an anamorphic mode for stabilization. When using this mode, the IBIS is fine-tuned to accommodate the wider field of view and optical distortion typical of anamorphic lenses. “The GH7’s stabilization was critical,” Staley noted. “It allowed me to hold steady shots, even while using a manual cine lens with a 1.5x squeeze.”
The GH7’s anamorphic stabilization mode optimizes IBIS for the wide view and distortion of anamorphic lenses.
Post-production was equally streamlined. Staley imported his footage into Final Cut Pro X, de-squeezed it horizontally by 150%, and cut it down to a polished four-minute piece. Minimal color correction was required, as the GH7’s ARRI Log C footage retained excellent dynamic range and detail. “I barely colored it,” Staley admitted. “I just applied an ARRI 709 LUT and made a few tweaks here and there. The colors and dynamic range held up beautifully.”
The result of Staley’s work, Jou-Jou, is far more than a yo-yo video. It shows how filmmaking technology has become more accessible and how creative limits can inspire great work. The horizontal flares, wide screen format, and high frame rate combine to highlight the artistry of yo-yoing in a way that feels both intimate and epic. “I haven’t seen images like this before, especially of yo-yoing,” Staley reflected. “It’s hard to do something unique, but I think we pulled it off.”
Staley’s biggest challenge was capturing the yo-yos’ fast, unpredictable movements while preserving the cinematic anamorphic aesthetic.
The Future of Anamorphic Shooting for All
Staley’s experience with Jou-Jou underscores a significant shift in the filmmaking landscape. What was once the exclusive domain of well-funded productions is now accessible to independent filmmakers and single operators. The GH7 and Nanomorph lens have lowered the barriers to entry, enabling a new generation of storytellers to experiment with anamorphic shooting.
“The GH7 offers everything I need as a professional filmmaker,” Staley said. “From anamorphic de-squeeze to image stabilization, it’s all built into this tiny package. That’s something you don’t see with other systems.”
For filmmakers seeking to push creative boundaries without a team or heavy equipment, the combination of the GH7 and Nanomorph lens represents a game-changing opportunity. Jou-Jou is proof that single-shooter anamorphic documentaries are no longer a dream—they’re accessible now.
