Mastering Anamorphic Cinematography for Music Videos
Expert cinematographer Ishell Vaughan breaks down anamorphic lenses, gear, and techniques for elevating music video production in NYC, Miami, and beyond.
Why Anamorphic Lenses Elevate Music Videos
Anamorphic lenses aren’t just a trend—they’re a tool for creating depth, texture, and a cinematic language that separates music videos from standard digital output. The 2.39:1 aspect ratio, horizontal lens flares, and oval bokeh give footage a premium, filmic quality that artists and labels respond to. In markets like NYC and Miami, where competition for visual impact is fierce, anamorphic can be the difference between a video that fades and one that lingers.
I’ve shot with anamorphic on everything from low-budget passion projects to high-end label-funded productions. The look is versatile: it can feel nostalgic for a retro R&B track or hyper-modern for a trap anthem. The key is matching the lens choice to the project’s tone and budget.
Gear That Delivers Without Breaking the Bank
Not every production can afford a set of Master Anamorphics. For most music videos, I start with the Kowa 16H or the Isco Ultra Star, both of which can be adapted to full-frame or Super 35 cameras like the RED Komodo or Sony FX6. These vintage primes deliver the classic anamorphic characteristics—soft edges, blue streaks, and that signature squeeze—without the $10K+ price tag of modern cine lenses.
For tighter budgets, the Great Joy 60mm or Sanzo 35mm anamorphic lenses are solid entry points. They’re manual focus only, which can slow you down on fast-paced shoots, but the image quality punches above their weight. Rentals in cities like Philadelphia or Atlanta run $150–$300 per day for these, which is reasonable for a one-day music video shoot.
If you’re shooting on a mirrorless body like the Canon C70 or Blackmagic Pocket Cinema Camera, the Atlas Orion series offers a more modern, lightweight option with consistent focus breathing and minimal distortion. The downside? You’ll pay $2,500–$4,000 per lens, so these are better suited to directors who shoot frequently.
City-Specific Realities and Workarounds
Newark and NYC present unique challenges. Permits are expensive, locations are tight, and daylight is often limited. Anamorphic lenses require more light—typically f/2.8 or faster—so I’ll often pair them with an Aputure 300D II or a pair of LiteMat 4s to maintain exposure without sacrificing the look. In Miami, the abundance of natural light is a gift, but the humidity can fog up vintage lenses if you’re not careful. Always bring a lens heater or silica gel packs.
Atlanta’s music video scene is fast and collaborative, with many directors and DPs sharing gear. If you’re new to anamorphic, this is a great place to test lenses before committing to a purchase. Philadelphia, on the other hand, has fewer rental houses, so planning ahead is critical.
Lighting and Movement for Anamorphic Impact
Anamorphic lenses react differently to light than spherical lenses. Backlighting is your friend—position a source behind your subject to coax out those horizontal flares. For a music video, this could mean a practical light in the background or a dedicated LED panel just out of frame. Avoid harsh overhead lighting, which can flatten the image and mute the anamorphic character.
Movement is another area where anamorphic shines. A slow dolly-in on a wide shot, or a subtle rack focus during a close-up, feels more dynamic through an anamorphic lens. I’ll often use a DJI RS 3 Pro gimbal for handheld shots, but a fluid head on a tripod works just as well for static setups. The key is to let the lens do the work—don’t overcomplicate the shot.
Post-Production Considerations
Shooting anamorphic means desqueezing your footage in post. Most NLEs (Premiere Pro, Final Cut, Resolve) handle this automatically if you’ve set the proper metadata, but it’s worth checking before you start editing. Color grading anamorphic footage requires a light touch—those flares and soft edges can muddy if you’re too heavy-handed with contrast or saturation.
For music videos, I’ll often push the blues slightly and lift the blacks to enhance the anamorphic look. But remember: the lens does most of the work. Your grade should complement, not compete with, the glass.
If you’re delivering to a platform like YouTube or Vevo, ensure your export settings match the anamorphic aspect ratio. A 2.39:1 video uploaded as 16:9 will look stretched and unprofessional.
When to Skip Anamorphic
Not every project needs anamorphic. If you’re shooting a performance video with tight close-ups and fast cuts, the soft edges and flares might distract from the artist. Similarly, if your budget doesn’t allow for proper lighting or stabilization, the trade-offs might not be worth it. Sometimes, a clean, sharp spherical lens is the better choice.
The best music video cinematography serves the song and the artist’s vision. Anamorphic is a powerful tool, but it’s not the only one. If you’re unsure, test the look before committing to a full shoot.
For those ready to explore anamorphic for their next project, my door is open. Reach out via the contact page to discuss gear, concepts, or how to make the most of your budget.