There was a time when shooting with anamorphic lenses was all the rage. EVERYONE was doing it, and some were doing it whether it served the project or not. Now, don't get me wrong, I love a wide frame, but I've never been a huge fan of anamorphic lenses. I don't like what can happen at the edges of the frame when shooting wide, and when pulling focus with anamorphics, it looks like a "jerking" of the image rather than a shift in perspective.
When I do shoot a 2.4:1, I use spherical lenses. There's a comfort in it. I like the look, and depending on the glass set, I feel the lens is an extension of my own eyes rather than a tool.
Where do you land on the spherical/anamorphic fence? Let me know in the comments.
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Spherical for me, nine times out of ten.
Anamorphic can be gorgeous when the story actually wants that swagger. But too often it’s just “look, Mom, we rented character.” Then you’re babysitting smeary edges, odd stretching, and that little focus-breath “yank” that screams lens instead of moment.
If I’m framing 2.39, I’d rather crop a clean spherical image and keep the geometry honest. With the right glass it feels like an extension of your eyes, not a filter shouting over the actors.
If you’re Team Anamorphic, what’s the project where it truly earned its keep? And if you’re Team Spherical, what’s your go-to set for wide work?
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Anamorphic adds character.
Spherical protects the story.