OFG LONG SHOT — Full Frame & Anamorphic Glass on 16mm Film

What Is the LONG SHOT?

At its core, the LONG SHOT is an optical adapter built specifically for 16mm and Super 16mm cameras. It allows you to use Full Frame, Large Format,
and Vista Vision lenses on the 16mm format, while retaining the original field of view, depth of field, and overall lens character.

Instead of treating 16mm as a compromise, the LONG SHOT flips the script: you can now bring your favorite modern and vintage Full Frame lenses to a smaller gauge film format and get a
look that feels completely fresh for 16mm. The result is a signature aesthetic that nobody has really seen on 16mm before — this is truly 16mm reimagined.

Built for Serious 16mm Film Cameras

The LONG SHOT was designed from the ground up for PL-mount 16mm film cameras, and it slots naturally into professional setups. It’s ideal for bodies like:

• ARRI 416
• ARRI SR3
• AATON Xtera
• AATON XTR Prod
• AATON Minima
• Bolex H16
• …and more PL-friendly 16mm/S16 platforms

In practical terms, that means about 10x more lens options for your 16mm cameras than traditional S16 glass alone. You’re no longer confined to a small library of
native 16mm lenses — you can open the door to entire ecosystems of Full Frame cine primes, zooms, and specialty glass.

Full Frame 1.5x Anamorphic on Super 16

One of the most exciting aspects of the LONG SHOT is how it handles Full Frame 1.5x anamorphic lenses. Instead of feeling like an anamorphic compromise on a small
format, you get:

• The character and depth of field of Full Frame anamorphic lenses
• Beautiful oval bokeh and anamorphic flare behavior carried onto Super 16mm
• A de-squeezed aspect ratio around 2.49:1 on Super 16mm film

That 2.49:1 frame means you only need a minimal crop to land at the classic 2.40:1 anamorphic delivery. Instead of fighting the format, you’re using it to get a
wide, cinematic image with the kind of depth and separation usually reserved for much larger sensors.

Swappable Lens Mounts & Ecosystem Flexibility

The LONG SHOT is not locked into a single mount. Instead, it ships with swappable, shimmed mounts so you can bring a huge range of lenses to your 16mm body.
Currently supported mounts include:

• PL
• LPL
• Canon EF
• Nikon F
• Canon FD
• BNCR
• OCT-19
• …and more

Each mount is shimmed to spec, so your lenses hit accurate focus marks the way they were designed to. If you’re used to pulling focus off marks with cinema glass,
this is a big deal — especially when working fast on narrative or commercial sets.

Power, Control & Rigging

Beyond the optics, the LONG SHOT is designed as a production-friendly platform with on-board power and rigging options:

• 3-Pin Fischer ports with remote run/stop (R/S)
• 2-Pin power ports to feed accessories
• A robust full cage for mounting focus motors, monitors, EVFs, top handles, rangefinders, and more

In practice, that means you can treat the LONG SHOT like a modern digital cine rig: build it out with wireless video, full FIZ, and accessories without fighting for mounting points.
Everything is designed to live in a unified ecosystem around your 16mm body.

Internal Exposure Control (Without Changing Depth of Field)

One of the standout features of the LONG SHOT is its internal exposure control. Unlike simply stopping down your taking lens or stacking front NDs, this system:

• Does not affect depth of field
• Does not introduce color shifts
• Gives you on-board exposure management for brighter scenes

That means you often won’t need external ND filters just to keep your exposure in check, which can simplify your matte box setup and speed up your day. It also opens
the door to creative “iris rack–style” moves where you change exposure mid-shot (like traveling from a day interior to a day exterior) without your depth of field visibly changing.

Why the LONG SHOT Matters for 16mm Shooters

If you love the texture and soul of 16mm film but have always wished for more lens character, more format choices, and more control, the OFG LONG SHOT hits that
sweet spot. It transforms 16mm into a playground for:

• Narrative filmmakers chasing a unique, premium look on a smaller gauge
• Music video directors who want bold anamorphic aesthetics on film
• Commercial and fashion shooters looking for a hybrid of vintage grain and modern lens performance
• Experimental and art filmmakers who enjoy mixing formats and pushing into unknown visual territory

Instead of treating 16mm as a “B format,” the LONG SHOT lets it sit at the center of your visual strategy, backed by the same Full Frame and anamorphic glass you might already be using
on your digital cameras.

Final Thoughts

The OFG LONG SHOT is more than just another adapter — it’s a way to unlock Full Frame and anamorphic aesthetics on beloved 16mm cameras, with a rigging and power
ecosystem that feels right at home on modern sets. If you’ve been waiting for a reason to dust off your ARRI 416, SR3, AATON, or Bolex and give it a new lease on life, this might be
it.

If you’re obsessed with format mixing, film texture, and lens character, the LONG SHOT is absolutely one to keep on your radar.