Standard lens without horizontal compression. Projects 1:1 onto sensor or film, round bokeh, natural image geometry. Opposite of anamorphic, which squeezes the frame horizontally.
What is Spherical?
Spherical refers to standard lenses with non-anamorphic optics that project a proportionally undistorted image onto the sensor. Unlike anamorphic lenses, they do not horizontally compress the image.
Basic Principle
| Aspect | Description |
|---|---|
| Optics | Non-compressing |
| Projection | 1:1 proportional |
| Bokeh | Round |
| Prevalence | Standard |
Spherical vs. Anamorphic
| Aspect | Spherical | Anamorphic |
|---|---|---|
| Squeeze | None (1x) | 1.33x, 1.5x, 2x |
| Bokeh | Round | Oval |
| Flares | Spot-like | Horizontal streaks |
| Cost | Lower | Higher |
Optical Properties
| Property | Description |
|---|---|
| Geometry | Natural |
| Distortion | Minimal (with quality) |
| Sharpness | Uniform |
| Focus Fall-off | Standard |
Bokeh Characteristics
| Aspect | Spherical |
|---|---|
| Shape | Circular |
| Highlights | Round dots |
| Fall-off | Soft, natural |
| Character | Lens-dependent |
Lens Categories
| Type | Description |
|---|---|
| Prime | Fixed focal length |
| Zoom | Variable focal length |
| Macro | Close-ups |
| Specialty | Tilt/Shift, etc. |
Focal Length Spectrum
| Category | Range |
|---|---|
| Ultra-Wide | 8-18mm |
| Wide | 21-35mm |
| Normal | 40-60mm |
| Telephoto | 85mm+ |
Popular Cine Sets
| Manufacturer | Series |
|---|---|
| ARRI | Master Primes |
| Zeiss | Supreme, Ultra Prime |
| Cooke | S4/i, S7/i |
| Leitz | Summilux-C |
Vintage Options
| Series | Character |
|---|---|
| Cooke Speed Panchro | Classic warm |
| Zeiss Super Speeds | 70s/80s Look |
| Canon K35 | Soft, characterful |
| Bausch & Lomb | Vintage Flares |
Aspect Ratio Workflow
| Ratio | Method |
|---|---|
| 1.33:1 | Full Sensor |
| 1.85:1 | Crop/Mask |
| 2.39:1 | Hard Matte/Crop |
| Variable | Flexible Post |
Sensor Usage
| Format | Usage |
|---|---|
| Full Frame | Entire area |
| S35 Crop | Standard area |
| APS-C | Compact sensors |
| Open Gate | Maximum resolution |
Field of View
| Focal Length (FF) | FOV (horizontal) |
|---|---|
| 24mm | ~74° |
| 35mm | ~54° |
| 50mm | ~40° |
| 85mm | ~24° |
Depth of Field
| Aspect | Factor |
|---|---|
| Aperture | f/1.4 = shallow DOF |
| Focal Length | Longer = shallower |
| Distance | Closer = shallower |
| Sensor | Larger = shallower |
Lighting Considerations
| Aspect | Description |
|---|---|
| Flares | More subtle than Anamorphic |
| Breathing | Depends on the lens |
| T-Stop | Light transmission |
| Coating | Contrast/Flare Control |
Workflow Advantages
| Advantage | Description |
|---|---|
| Simpler | No Desqueeze |
| More Flexible | More choices |
| Cheaper | Rental costs |
| More Compatible | Universal |
Post-Production
| Aspect | Spherical |
|---|---|
| Desqueeze | Not necessary |
| Reframe | Standard |
| VFX | Easier track |
| Stabilization | Standard |
Genre Preferences
| Genre | Frequency |
|---|---|
| Drama | Very frequent |
| Documentary | Standard |
| Horror | Predominantly |
| Epic | Anamorphic often preferred |
Projectors
| Aspect | Spherical |
|---|---|
| Cinema | Standard projection |
| Home | All displays |
| Conversion | Not necessary |
| Quality | Native resolution |
Combinations
| Element | Possible |
|---|---|
| Filters | Standard sets |
| Matte Box | Universal |
| Follow Focus | Standard gears |
| Support | Easier |
Best Practices
| Practice | Reason |
|---|---|
| Match Sets | Consistent look |
| Test First | Know the character |
| Lens Chart | DOF planning |
| Clean Optics | Best quality |
Today
Spherical lenses remain the standard in cinematography. The variety of available optics – from technically perfect modern glass to characterful vintage lenses – offers cinematographers immense creative possibilities. While anamorphic has its place, spherical remains the foundation of visual filmmaking.
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