We used a spher­i­cal lens as a kind of con­trol to look at depth of field and bar­rel dis­tor­tion and the opti­cal breath­ing you get when you rack from things really close to really far away,” Lasky con­tin­ues. “It gave us a chance to have some­thing tan­gi­ble. We used an Arri­flex cam­era with Panav­i­sion lenses. We looked at lens flares and how to focus lights in the back­ground. There’s that shot in the truck [his home] when EVE’s look­ing at the lighter for the first time from WALL•E’s POV and you see the bou­quet stretched in the back­ground. And this is the kind of thing we dis­cov­ered doing those tests.

Engag­ing read at Ani­ma­tion World Mag­a­zine on how WALL•E was shot.