Anamorphic Cinematography for Music Videos: A Director’s Guide
Award-winning cinematographer Ishell Vaughan breaks down the gear, techniques, and city-specific realities of shooting music videos with anamorphic lenses.
Why Anamorphic Works for Music Videos
Anamorphic lenses change the game for music videos. The 2:1 horizontal squeeze, oval bokeh, and blue streak flares add a cinematic weight that standard spherical lenses can’t match. For artists in Newark, NYC, or Miami, this look elevates production value without requiring a blockbuster budget.
I’ve shot music videos on everything from vintage Cooke Anamorphic/i primes to modern Kowa anamorphic sets. The Cooke set, while expensive (rentals start around $800/day for a 3-lens kit), delivers a signature warmth and softness that’s hard to replicate. Kowa, on the other hand, is more affordable (around $400/day) and lighter, which matters when you’re running between locations in Philadelphia’s tight streets or Atlanta’s sprawling lots.
Gear Choices and Trade-Offs
Your lens choice dictates your rig. Anamorphic lenses are heavier, often requiring a gimbal like the DJI Ronin 2 or a Steadicam for smooth movement. In cramped NYC apartments or Miami’s humid exteriors, this adds complexity. But the payoff is immediate—clients notice the difference.
Camera bodies matter too. The ARRI Alexa Mini LF pairs beautifully with anamorphic glass, but it’s a $5,000+/week rental. For indie budgets, the RED Komodo or Sony FX6 with anamorphic adapters (like the SLASOPTIC Anamorphot) can get you 80% of the way at a fraction of the cost. I’ve used the FX6 on projects in Atlanta with great results, though the desqueeze in post adds time to the workflow.
Lighting for Anamorphic Flare
Anamorphic flares aren’t just a byproduct—they’re a tool. To get the most out of them, position your key light at a 45-degree angle to the lens axis. In Newark’s industrial spaces, I’ve used LED panels like the Aputure 300D II to create controlled flares that don’t overpower the subject. In Miami, natural light is abundant, but you’ll need diffusion to avoid harsh streaks that distract from the artist.
Avoid backlighting without purpose. Flares can wash out faces if you’re not careful. I once shot a video in Philadelphia where the client loved the flare effect, but we had to dial it back in post because it obscured the lead singer’s eyes in half the shots.
Budgeting and Logistics
Anamorphic shoots cost more, but they don’t have to break the bank. In Newark, you can rent a 3-lens anamorphic set for under $1,000/week if you book in advance. In NYC, prices spike due to demand—expect to pay 20-30% more for the same kit. Atlanta offers the best value, with competitive rental rates and tax incentives for larger productions.
Factor in post-production. Anamorphic footage requires desqueeze, which adds time and cost. A skilled colorist (like those at No Film School) can enhance the look, but budget at least $1,500-$3,000 for a professional grade.
When to Avoid Anamorphic
Not every project needs anamorphic. If your client wants a gritty, documentary-style video, spherical lenses might be the better choice. Anamorphic also struggles with close-ups—those oval bokeh can distort faces at tight focal lengths. For a tight budget shoot in Miami, I once switched to spherical primes halfway through to save on rental costs and time.
Consider the scope of the project. If you’re shooting a one-day performance video in Philadelphia, the added complexity of anamorphic might not be worth it. But for a narrative-driven video with multiple locations in NYC, the investment pays off in spades.
Final Thoughts
Anamorphic cinematography isn’t just about the gear—it’s about the story. The right lens can turn a simple performance into a visually striking experience. If you’re ready to explore this look for your next music video, reach out. I’m based in Newark but work across the East Coast, and I’d love to discuss how we can bring your vision to life.