Anamorphic Cinematography for Music Videos: A Director’s Guide
Expert tips on using anamorphic lenses for music videos, from gear choices to budgeting, by award-winning cinematographer Ishell Vaughan.
Why Anamorphic for Music Videos
Anamorphic lenses transform a music video into a cinematic experience. The horizontal squeeze, oval bokeh, and signature blue streaks add depth and production value that standard lenses can’t match. For artists aiming to stand out on platforms like YouTube or Vevo, anamorphic is a visual shorthand for premium quality.
I’ve shot music videos in NYC and Atlanta where the client’s budget was tight, but the demand for anamorphic look was non-negotiable. The trade-off is worth it—viewers perceive the content as higher-value, even if the actual production costs are controlled.
Gear That Delivers Without Breaking the Bank
Not every project can afford a full set of Master Primes or Cooke Anamorphics. For indie budgets (under $10K), the No Film School community often recommends the Kowa Anamorphic lenses. They’re vintage, require adapters, but produce stunning flares and that classic 2.39:1 aspect ratio.
For mid-tier projects ($15K–$30K), the Angenieux Optimo 15-40 or 28-76 are solid choices. They’re zoom lenses, which saves time on set when you’re racing against a one-day shoot in Miami’s unpredictable weather. Higher-end projects can justify the Hawk V-Lite or Atlas Orion series, but those come with a rental cost that can eat into your lighting budget.
Lighting for Anamorphic Flare
Anamorphic lenses are flare magnets. This is a feature, not a bug. But you need to control it. In Philadelphia, where I shot a hip-hop video last year, we used a single ARRI Skypanel to backlight the artist during the chorus. The flare was subtle but noticeable—enough to elevate the shot without overpowering it.
Avoid cheap LED panels with poor diffusion; they create harsh, unnatural flares. Stick with tungsten or daylight-balanced units from ARRI, Aputure, or LiteMat. And always test your lenses with your lighting setup before the shoot day.
Budgeting Realities in Major Markets
Rental costs vary by city. In NYC, anamorphic lenses can run $500–$1,500 per day, depending on the model. Miami and Atlanta are slightly cheaper, but demand is high, so book early. Philadelphia offers a middle ground—lower costs, but fewer options for last-minute gear swaps.
Labor is another factor. A focus puller experienced with anamorphic lenses is non-negotiable. Their rates in NYC start at $400/day, while in Atlanta, you might find someone for $300. Factor this into your pre-production budget.
Post-Production Considerations
Shooting anamorphic means desqueezing in post. Most NLEs handle this automatically, but it’s critical to confirm your workflow with your editor early. For example, if you’re shooting on a RED or ARRI camera, ensure the metadata is correctly embedded to avoid desqueeze errors.
Color grading is where anamorphic truly shines. The lenses’ unique characteristics—soft focus, halation, and flare—respond beautifully to grading. I often reference the work of cinematographers like Greig Fraser (as seen in The Hollywood Reporter) for inspiration on how to enhance the anamorphic look in post.
When to Skip Anamorphic
Not every music video needs anamorphic. If the concept is raw, documentary-style, or relies on fast-paced handheld shots, the weight and bulk of anamorphic lenses can slow you down. In those cases, spherical lenses or even vintage primes might be the better choice.
Consider your audience, too. If the artist’s fanbase expects a gritty, lo-fi aesthetic, anamorphic might feel out of place. But for pop, R&B, or hip-hop videos aiming for a high-end look, it’s almost always the right call.
Reach out via the contact page if you’re planning a shoot and want to discuss whether anamorphic is the right fit for your project.