AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |
Back to Blog
Using different lenses with iconographer3/29/2023 ![]() If wide-angle lenses were used instead, it would reveal more of the surroundings and in this case empty spaces. On the epic opening fight scene of “Gladiator” John Mathieson, the cinematographer that frequently collaborates with director Ridley Scott, used long lenses in order to make it look like there where much more extras than they actually had on set. The same “framing” on a 24mm or an 85mm will not only reveal different elements of the environment but also completely change the perspective from where the spectators see it, making the audience part of the action or someone that observes it from far away. Shane Hurlbut, (Drumline, Terminator Salvation) believes that when choosing the focal length, the choice should take into consideration the “feel” of the story from the perspective of the viewer at a given moment. ![]() he favored a natural field of view and had the luxury to have film sets built to accommodate the 50mm field of view. He preferred the 50mm, and he strived to make his actors look good. The master of suspense, Alfred Hitchcock, was a perfectionist. That the faces and natural proportions are not being dramatically changed by Perfect, you are not pushing anybody, you are not puling anybody”, meaning Gordon Willis’ reason to prefer the 40mm is that “it looks very normal on the screen”, in his own words “ I step into a room and a 40mm is Kubrick, Gordon also had a custom made lens designed for him (the Panavision Gordon Willis, cinematographer best known for his work on Francis Ford Coppola’s “The Godfather” trilogy, for example, considers himself a 40mm person. Himself, had mentioned that the 21mm is his favorite lens because it is the way That makes a lot of sense when considering the fact that wide lenses favor the style of camera movement regularly used on Spielberg’s movies, due to the fact that wide lenses reveal more of the landscape surrounding the main action, unlike long lenses that don’t really give you as much perspective of the surroundings. Steven Spielberg, for instance, is recognized as one of the best directors in terms of film blocking and is also famous for extensive use of wide lenses (particularly the 21mm). Way the director/cinematographer “sees” the movie. Might be a direct influence from one of his favorite directors, or simply the That can differ from director to director.ĭetermined by what skills the director or cinematographer has up his sleeve. The ways in which lenses can directly influence a movie: 1 The lens choice controls the focal length in a filmĬan change several aspects of a movie, the first and perhaps the most obviousĪnd cinematographers seem to have a favorite focal length and the reason for An example of that is the iconic NASA Zeiss f/0.7 glass that he used in the acclaimed “Barry Lyndon” in 1975. He even had his own lenses custom made for him. The equipment, Kubrick had his own equipment, that allowed him to have his ownĪccording to Joe Dunton (ex-Executive chairman of Panavision), he would ask the manufacturer to send him ten lenses and he would keep his favorite. Obsessed with cinematography and contrary to most directors that usually rent Stanley Kubrick, for instance, had a strong background on photography, and was However, some directors have very specific opinions about the lens choice, ![]() Must Watch: Focal Lengths and Lenses used by Great Film DirectorsĪllow the cinematographer to decide which lenses are best for the movie. Different lenses see differently, therefore, the lens can tell the story from a totally different perspective and change the whole experience for the viewers. ![]() The lenses are like the eyes that allow the audience to “see” the story of a movie, everything that goes in the final movie is directly influenced by the lens choice. How to use the lens to frame a scene and set the mood for the film. Inexperienced filmmakers are very concerned about the camera body or the sensorīut in reality, a good cinematographer needs to know about lenses, particularly A complete visual representation of the filmmaking process from beginning to end. Exclusive Bonus: Download your FREE Blueprint: How to make a movie. ![]()
0 Comments
Read More
Leave a Reply. |