Anamorphic Cinematography for Music Videos: A Director’s Guide
Expert insights on using anamorphic lenses for music videos, including gear, budgets, and city-specific production tips for directors.
Why Anamorphic for Music Videos
Anamorphic lenses transform the look of a music video with their signature oval bokeh, horizontal flares, and a wider aspect ratio that feels inherently cinematic. For artists and labels, this isn’t just aesthetics—it’s a visual shorthand for elevated production value. In a space where budgets can range from $5K to $50K, anamorphic can justify the spend by making a $10K shoot look like $100K.
The demand for this look is real. Billboard has noted the rise of high-production-value music videos as a key differentiator for streaming platforms, where visuals are as critical as the audio. Anamorphic lenses, with their 2x squeeze, deliver that premium feel without the need for elaborate sets or VFX.
Gear Choices and Budget Realities
Not all anamorphic lenses are created equal. For indie budgets, the Kowa Prominar 16-H or the Atlas Orion series offer a balance of affordability and quality, typically renting for $200–$500 per day. For higher-end projects, the ARRI Master Anamorphics or Cooke Anamorphic/i SF are industry standards, but they come with a price tag—$1,000–$2,500 per day for rentals in NYC or Miami.
In cities like Newark or Philadelphia, where production crews are smaller, I’ve found that pairing anamorphic lenses with a RED Komodo or ARRI Amira keeps the rig lightweight while maintaining flexibility. Atlanta’s rental houses often have better rates, but availability can be tight during peak music video seasons.
Lighting for Anamorphic Flares
Anamorphic flares are a double-edged sword. They can elevate a shot or distract from the subject. To control them, I use diffusion—often a 1/4 Black Pro-Mist or a GlimmerGrid—to soften the harshness of modern LEDs. For example, in a recent shoot in Miami, we used a combination of Aputure 300D II units with grid diffusion to create controlled flares that complemented the artist’s performance without overpowering it.
No Film School has published useful guides on managing anamorphic flares, emphasizing the importance of lens choice and lighting placement. The key is to test your setup in pre-production, as flare characteristics vary even within the same lens family.
Post-Production Considerations
Anamorphic footage requires desqueezing in post, which can impact workflow. Most NLEs handle this automatically, but color grading becomes more nuanced. The wider aspect ratio means more real estate to fill, and the horizontal flares can interact unpredictably with color correction.
For music videos, where turnaround times are often tight, I recommend shooting in a 4:3 ratio and cropping in post to 2.39:1. This gives flexibility in framing while maintaining the anamorphic aesthetic. Tools like Adobe Premiere Pro or Resolve handle desqueezing seamlessly, but always confirm your deliverables with the label or platform.
City-Specific Tips
Newark and NYC offer access to top-tier rental houses and crews, but permits and location costs can add up. In Miami, the natural light is a gift for anamorphic shoots, but humidity can affect lens performance—keep your gear protected. Philadelphia’s historic locations provide a unique backdrop, but older buildings can have power limitations, so plan your lighting rigs accordingly.
Atlanta’s music video scene is booming, with many crews specializing in anamorphic workflows. The city’s tax incentives make it a cost-effective choice, but competition for crews and gear is fierce.
If you’re considering anamorphic for your next project, reach out via the contact page to discuss how we can bring this look to life.