# Anamorphic — composition technique | AIM Previz https://aimpreviz.com/learn/techniques/anamorphic-wide [Previz](https://aimpreviz.com/) / [Techniques](https://aimpreviz.com/learn/techniques) / Composition · Intermediate # Anamorphic Anamorphic is a composition technique: Squeezed capture that yields a very wide frame, oval bokeh and horizontal blue flares. The most recognisable 'big film' signature there is. In PREVIZ picking it sets the lens in Keyframe, Director and Infinitum. It reads as cinematic, and the library rates it intermediate. Published 29 Sep 2026Updated 4 Oct 2026by the PREVIZ team What it does to the frame Squeezed capture that yields a very wide frame, oval bokeh and horizontal blue flares. The most recognisable 'big film' signature there is. - **Reads as** — Cinematic - **Difficulty** — Intermediate - **Runs in** — Keyframe · Director · Infinitum The control it moves in PREVIZ - Lens Keyframe · Director Cooke Anamorphic/i SF Special flare coating for enhanced anamorphic flare with the Cooke Look. oval bokeh · horizontal streak flare · sharp Best for: Drama, Emotional storytelling Picking the technique sets these controls; it does not paste text into a prompt. The setting can be re-run, checked against the settings beside it, and carried into the next shot. ## Also in composition What the glass does to the frame: how much of it is sharp, how wide it reads, what the edges do. - **[Shallow Focus](https://aimpreviz.com/learn/techniques/shallow-focus) Basic · Cinematic, Romantic** — Only a thin slice of the scene is sharp. Isolates the subject from its surroundings and is most of what makes an image read as 'cinematic'. - **[Deep Focus](https://aimpreviz.com/learn/techniques/deep-focus) Advanced · Dramatic, Documentary** — Everything from foreground to horizon is sharp. Lets action play out on several planes at once instead of directing the eye by focus. - **[Vintage Glass](https://aimpreviz.com/learn/techniques/vintage-glass) Intermediate · Nostalgic, Romantic** — Older uncoated lenses: lower contrast, swirling backgrounds and flares that bloom easily. Imperfection used deliberately. - **[Tilt-Shift](https://aimpreviz.com/learn/techniques/tilt-shift-miniature) Advanced · Artistic** — The focus plane is tilted off perpendicular, leaving a narrow band sharp across the frame. On a wide view it makes real places look like models. - **[Split Diopter](https://aimpreviz.com/learn/techniques/split-diopter) Advanced · Dramatic** — Half the lens carries a close-up element, so a near face and a far face are both sharp with a visible seam between them. ## Reads the same way Other techniques that read as cinematic — a light or a lens to pair with this move. - **[Low Angle](https://aimpreviz.com/learn/techniques/low-angle) Basic · Dramatic, Cinematic** — The camera sits below the subject and looks up. Reach for it when someone should read as powerful, imposing, or in control of the room. - **[Bird's Eye View](https://aimpreviz.com/learn/techniques/birds-eye) Intermediate · Artistic, Cinematic** — Straight down from directly overhead. Flattens the scene into pattern and geometry, and detaches the viewer from the action entirely. - **[Three-Quarter Angle](https://aimpreviz.com/learn/techniques/three-quarter) Basic · Cinematic, Documentary** — Between straight-on and profile. The default flattering angle for faces — it gives the head volume that a square-on shot loses. - **[Behind the Subject](https://aimpreviz.com/learn/techniques/behind-subject) Intermediate · Cinematic, Dramatic** — Directly behind, seeing what they see. Puts the viewer at the character's shoulder and makes the environment ahead the subject of the shot. - **[Over-the-Shoulder](https://aimpreviz.com/learn/techniques/over-the-shoulder) Basic · Cinematic, Dramatic** — From behind and to one side, with the near shoulder in frame. The workhorse of dialogue coverage — it fixes who is looking at whom. - **[Close-Up](https://aimpreviz.com/learn/techniques/close-up) Basic · Dramatic, Cinematic** — Head and shoulders. The standard shot for performance — close enough that the face carries the scene. - **[Medium Shot](https://aimpreviz.com/learn/techniques/medium-shot) Basic · Documentary, Cinematic** — Waist up. Holds the figure and enough of the room to read body language — the neutral shot most scenes are built from. - **[Wide Shot](https://aimpreviz.com/learn/techniques/wide-shot) Basic · Cinematic** — The whole figure with the space around it. Establishes where everyone is standing before the scene tightens in. - **[Extreme Wide Shot](https://aimpreviz.com/learn/techniques/extreme-wide) Intermediate · Cinematic, Artistic** — The figure is small against the landscape. Scale is the subject — the person is there to give the environment a size. - **[Push In](https://aimpreviz.com/learn/techniques/push-in) Basic · Dramatic, Cinematic** — The camera moves steadily toward the subject. The most reliable way to tell an audience that this moment matters. - **[Pull Back](https://aimpreviz.com/learn/techniques/pull-back) Basic · Cinematic** — The camera withdraws, revealing context that was outside the frame. The reveal is the point. - **[Orbit](https://aimpreviz.com/learn/techniques/orbit-shot) Intermediate · Cinematic, Action** — The camera circles the subject while holding them centred. Shows an object from every side, or builds pressure around a person. - **[Crane Up](https://aimpreviz.com/learn/techniques/crane-up) Intermediate · Cinematic** — The camera rises through the shot. Conventionally an ending — it lifts away and lets the scene go. - **[Steadicam Float](https://aimpreviz.com/learn/techniques/steadicam-float) Intermediate · Cinematic, Documentary** — Smooth walking movement with none of the jitter of true handheld. Follows a subject through space without calling attention to itself. - **[Tracking Shot](https://aimpreviz.com/learn/techniques/tracking-shot) Intermediate · Cinematic, Action** — The camera travels alongside a moving subject, holding them in frame. Keeps them the fixed point while the world moves past. - **[Rack Focus](https://aimpreviz.com/learn/techniques/rack-focus) Advanced · Dramatic, Cinematic** — Focus shifts from one plane to another mid-shot. Redirects the viewer's attention without moving the camera or cutting. - **[Rembrandt Lighting](https://aimpreviz.com/learn/techniques/rembrandt-lighting) Intermediate · Dramatic, Cinematic** — Key light high and to one side, leaving a small triangle of light on the shadowed cheek. The classical portrait setup. - **[Butterfly Lighting](https://aimpreviz.com/learn/techniques/butterfly-lighting) Intermediate · Romantic, Cinematic** — Key light high and dead centre, casting a small butterfly-shaped shadow under the nose. The classic glamour light. - **[Rim Light](https://aimpreviz.com/learn/techniques/rim-light) Basic · Cinematic, Dramatic** — Light from behind that traces a bright edge around the subject, separating them from the background. Almost every night exterior uses it. - **[Practical Light](https://aimpreviz.com/learn/techniques/practical-light) Intermediate · Cinematic, Documentary** — The scene is lit by lamps, screens and signs that are visible in the shot. Motivated light — the viewer can see where it comes from. - **[Neon Lighting](https://aimpreviz.com/learn/techniques/neon-lighting) Intermediate · Cinematic, Artistic** — Saturated coloured light from signage, usually two clashing hues. The look of a city at night in almost every film made since 1982. - **[Halation](https://aimpreviz.com/learn/techniques/halation-glow) Intermediate · Nostalgic, Cinematic** — A red bloom around bright lights, caused by light scattering back through film stock. The signature of tungsten film shot at night. - **[Day for Night](https://aimpreviz.com/learn/techniques/day-for-night) Advanced · Cinematic, Horror** — Shot in daylight and graded to read as night. Sun becomes moonlight, which is why the shadows are always too crisp for real darkness. [All techniques](https://aimpreviz.com/learn/techniques) [The studios](https://aimpreviz.com/product/rooms) [Try the platform](https://aimpreviz.com/signup)