![]() Pozer says this trick can extend to changing an environment, as well. A massive telephoto lens shooting down the street can make a viewer feel embedded in the action, even though they are far away from it. Where a 28-millimetre lens placed three feet away from the focal point can convey a conversational closeness, a 200-millimetre lens across the room can feel like the audience is watching the actor from afar. ![]() Gabriel Byrne in ‘Miller’s Crossing’ CAMERA PLACEMENTĬamera placement and lens selection are harmonious in crafting an audience perspective. If he wants to feel like he’s watching someone like we’re talking to someone, he’ll go on a medium-wide 28-to-40.” Then you have a cinematographer like Roger Deakins, who prizes a conversational relationship between the audience and the characters. He’ll shoot a wacky comedy with wide-angle lenses. He’ll shoot a drama with wide-angle lenses. If you ask another cinematographer, Emmanuel Lubezki for example, he favours wide lenses. 35-to-85, an example of this would be Miller’s Crossing or When Harry Met Sally. Then there are handsome films, ones you’re supposed to take seriously, and you’re supposed to make your actors look good. You know you’re in the space, an example of this is Raising Arizona. Wacky films are all shot 18-to-20, wide-angle, distorted. There are wacky films and there are handsome films. ![]() He would say, there are two types of films. He elaborates: “Ask a cinematographer like Barry Sonnenfeld, who shot When Harry Met Sally and the early Cohen brother films, why he chooses wide lenses and long lenses. So, where a wide-angle lens may mostly play its most useful role in shooting vast rolling landscapes, Pozer says not to fall to the common error of ruling it out as a very strong lens choice for an indoors shot with, for example, in the case of “an aggressive or crazed character who is literally in your face.” It’s right as she’s at the edge of the bed, very close to the captive James Caan, and this choice of how to exaggerate an emotional moment is very important for me.” “There are a lot of wide-angle lenses because Kathy Bates is right in your face. The shape of the actor’s face, for example, can be distorted or augmented, which can be a powerful tool if applied correctly. Pozer calls this process of analysis a “team effort,” in that it can be helpful, even imperative, to discuss these details with the directors, writers, producers, and actors.īeyond the message a filmmaker intends to convey, there are other elements to take into consideration with regard to lens selection. Achieving that harmony often begins with the correct lens selection.īehind the Scenes of an InFocus Film School Shoot ![]() Selecting the right equipment and designing a flow of images that will tell the story are key. Good cinematography begins in the initial conceptualization. “It is really that marriage between the light, the camera, and the choice of lens, and how we’re going to tell our story with those tools.” He asserts both camera placement and lens choices are paramount to that seamless consistency. For budding filmmakers, understanding how to choose the right lens is imperative to building a relationship with the audience.įor John Pozer, senior film production instructor and curriculum advisor at InFocus Film School, cinematography pivots around creating a flow between images. Lenses can affect the way a story is told. If cinematography is the art of storytelling in film, then lenses are the tools. Video can’t be loaded because JavaScript is disabled: How to Use Lenses in Film (InFocus Film School) () ![]()
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