Anamorphic Cinematography for Music Videos: A Director’s Guide
Award-winning cinematographer Ishell Vaughan breaks down anamorphic lenses for music videos, from gear choices to budget realities in NYC and beyond.
Why Anamorphic Lenses Elevate Music Videos
Anamorphic glass isn’t just a trend—it’s a visual signature. The horizontal flares, oval bokeh, and 2.39:1 aspect ratio create a cinematic depth that flat lenses can’t replicate. For music videos, where every frame has to fight for attention, anamorphic delivers a look that feels premium without relying on heavy VFX. I’ve shot with everything from vintage Hawk V-Lites to modern ARRI Master Anamorphics, and the difference in audience engagement is measurable.
The trade-off is weight and cost. A set of anamorphic primes can run $10,000–$20,000 per week from a major rental house like AbelCine or Rule Boston Camera. But in markets like NYC or Atlanta, where crews and gear are plentiful, the investment often pays for itself in client attention.
Gear Choices: From Budget to High-End
Not all anamorphic lenses are created equal. For indie budgets, the SLR Magic Anamorphot 1.33x (around $2,500) is a solid entry point. It’s lightweight and pairs well with mirrorless cameras like the Sony FX6, which is a workhorse for run-and-gun music video shoots in Philadelphia or Miami. For higher-end projects, the Cooke Anamorphic/i series offers unparalleled skin tone reproduction, which is critical for close-ups of artists.
Lighting matters more with anamorphic. The wider aspect ratio means you need to fill more of the frame, and the lenses often require additional stops. I’ve found that using a 1.8x squeeze with a full-frame sensor (like the RED Komodo) gives me the most flexibility without breaking the bank. For reference, ASC Clubhouse Conversations often dives into the nuances of anamorphic in real-world productions.
Shooting in Urban Spaces: NYC, Miami, and Beyond
City shoots come with unique challenges. In NYC, permits are non-negotiable if you’re blocking streets, but the payoff is the architecture—anamorphic flares against skyscrapers at golden hour are hard to beat. Miami’s natural light is a gift, but the humidity can fog up lenses if you’re not careful. Philadelphia’s industrial backdrops, like the old factories in Kensington, pair well with the gritty, textured look of anamorphic.
Atlanta’s music video scene is booming, and local crews are used to tight turnarounds. I’ve shot multiple projects there with the Angenieux Optimo Ultra 12x, which gives me the zoom range I need for dynamic shots without changing lenses mid-scene. For more on how anamorphic is shaping music video trends, Billboard has covered its rise in recent years.
Workflow and Post-Production Considerations
Shooting anamorphic requires a different mindset in post. The desqueeze process in editing (converting the 2.39:1 to 16:9 or 4:3) can reveal flaws in composition if you’re not careful. I always shoot with a monitor that can display the desqueezed image in real time, like the SmallHD 2790.
Color grading is where anamorphic really shines. The lenses’ characteristic blue streaks and soft edges give graders a lot to work with. But be warned: anamorphic footage can be more demanding on storage and processing power. A 6K anamorphic project from a RED V-Raptor can eat through terabytes quickly.
When Anamorphic Isn’t the Right Call
Anamorphic isn’t a one-size-fits-all solution. For fast-paced, high-energy videos (think hip-hop or EDM), spherical lenses might be more practical. The added weight of anamorphic rigs can slow down handheld shots, and the flares can be distracting if overused. I’ve seen directors fall in love with the look only to realize it doesn’t fit the artist’s brand.
Budget is the biggest limiter. If you’re working with a $10,000 budget for a video, spending half on lenses might not leave enough for lighting, crew, or locations. In those cases, I’ll often rent a single anamorphic lens (like the Tokina 50mm) for key shots and use spherical for the rest.
Final Thoughts
Anamorphic cinematography is a powerful tool, but it’s not magic. The best music videos come from a clear vision, not just expensive glass. If you’re considering anamorphic for your next project, weigh the creative benefits against the logistical realities. And if you’re ready to bring that cinematic edge to your work, reach out via the contact page—I’d be happy to discuss how we can make it happen.