How to Use Anamorphic Cinematography for Music Videos
Expert tips on shooting anamorphic music videos, from lens choices to budgeting in NYC, Miami, and beyond. Learn from a working cinematographer.
Why Anamorphic Lenses Elevate Music Videos
Anamorphic lenses transform music videos from flat to cinematic with their signature oval bokeh, horizontal lens flares, and expanded 2.39:1 aspect ratio. For artists in NYC or Atlanta, where competition is fierce, that widescreen look can make a video feel like a short film rather than a simple promo. The compression of the image also creates a shallower depth of field at wider apertures, which helps isolate subjects—critical when you’re shooting a performer in a crowded club or on a busy Miami street.
I’ve shot music videos with anamorphic lenses for budgets ranging from $15K to $150K. The difference isn’t just the glass—it’s how you deploy it. A $50K budget in Newark can still deliver anamorphic visuals if you rent the right package and plan efficiently. The key is understanding that anamorphic isn’t just about the look; it’s about the story you’re telling with it.
Choosing the Right Anamorphic Glass
Not all anamorphic lenses are created equal. For music videos, I often turn to the Hawk V-Lite 1.3x or the Cooke Anamorphic/i SF. The Hawks are lightweight and affordable to rent, ideal for run-and-gun shoots in Philadelphia’s tight alleys or Atlanta’s sprawling locations. The Cookes, while heavier, offer superior optical quality and a more refined flare character—perfect for high-end projects where the artist’s label is footing a six-figure bill.
If you’re working with a tighter budget, the ISCO Ultra Star or even the vintage Kowa Bell & Howell 16mm anamorphics can deliver a unique, lo-fi aesthetic. These lenses are popular among indie directors in NYC, where the DIY ethos still thrives. Just be prepared to embrace their quirks: softer edges, breathing, and focus shifts that can add character but require precise control.
Budgeting Realities Across Markets
Shooting anamorphic in Miami is different from shooting in Newark. In Miami, you’ll find more natural light and open spaces, which can reduce the need for additional lighting—saving you money. But rental houses there often charge premium rates for anamorphic packages, especially during peak season. Expect to pay $1,200–$2,500 per week for a mid-tier anamorphic set, plus another $1,500–$3,000 for a camera like the ARRI Alexa Mini LF or RED Komodo.
In NYC, the competition for gear and crews is intense, but the infrastructure is unmatched. You can rent a full anamorphic rig from AbelCine or BorrowLenses within hours. However, permits, location fees, and parking can eat into your budget faster than anywhere else. For a $25K music video, I’d allocate at least 30% to gear and another 20% to crew—leaving you with 50% for locations, props, and post.
Lighting for Anamorphic in Fast-Paced Environments
Anamorphic lenses are hungry for light. Their wider apertures and desqueeze process in post mean you need more exposure than with spherical lenses. On a recent shoot in Philly, I used a combination of Aputure 300Ds and LiteMats to balance the anamorphic’s appetite for light without blowing out the background. The key is to use soft, diffused sources to complement the lens’s natural flares.
If you’re shooting outdoors in Atlanta’s unpredictable weather, bring a 4x4 frame with diffusion to tame harsh sunlight. Anamorphic flares can look stunning with backlighting, but they can also overpower your subject if you’re not careful. I’ve seen directors in Miami lean into the flares for a retro vibe, but it’s a fine line between stylish and distracting.
Post-Production Considerations
Anamorphic footage requires desqueezing in post, which can introduce softness if not handled properly. Most NLEs like Premiere Pro or Resolve can desqueeze in real-time, but it’s worth testing your workflow early. For a project I shot in Newark, we desqueezed in-camera to monitor the final aspect ratio, which helped the director and I make framing decisions on set.
Color grading anamorphic footage also demands attention. The oval bokeh and flares can interact with your grade in unexpected ways. I often start by lifting the shadows slightly to compensate for the lens’s natural contrast. If you’re working with a colorist, send them test footage early—anamorphic lenses can reveal artifacts or chromatic aberration that need correction.
When Anamorphic Isn’t the Right Choice
Anamorphic isn’t a one-size-fits-all solution. For low-budget projects or fast turnarounds, the added complexity may not be worth it. Spherical lenses with a 2.39:1 crop in post can mimic the look without the hassle. And for certain genres, like lo-fi hip-hop or punk, the raw, unpolished aesthetic of spherical glass might actually serve the story better.
That said, if you’re aiming for a cinematic music video that stands out in a crowded field, anamorphic is hard to beat. The flares, the depth, the widescreen grandeur—it’s a look that commands attention. And in cities like NYC and Miami, where the bar is already high, that can make all the difference.
If you’re planning a music video and want to explore anamorphic cinematography, reach out through my contact page. I’m always up for a conversation about how to bring your vision to life.