![]() Not only in the story, but in the characters as well. But what does this have to do with what lenses to use? A cinematographers lens choice must be balanced with the perspective of the film in order to create intention. ![]() After a cinematographer discovers this, those rules he initially learned become nothing more than a hindrance. Whatever rules we learn in school, or read about in books, are just a common language that helps us understand the importance properly telling a story. Sam Mendes and Roger Deakins shot the film 1917 on a single lens - a 40mm prime. And what do we do with rules once we’ve learned them?Įmmanuel Lubezki shot The Revenant on a 12mm and 14mm lens. While Mid Shots (or Mediums) are usually shot in 35mm or 40mm, and close-ups range from 50mm to 65mm or 75mm, depending on how extreme he wants it to be.īut like we discussed above, these are just rules. ![]() In the video, Deakins mentions using 32mm or 35mm lenses for Standard (or Normal) shots. Prime or Zoom? Image Credit: Duclos Lenses We’ll elaborate more on this in the next section. Or even dolly in during the scene to create an emotional response that the film needs. He would rather move that camera toward a subject in order to re-frame. Roger Deakins mentions that he first started with zoom lenses during his documentary years, but quickly shifted to prime lenses for narrative work. While we did mention that lens choice for cinema is fraught with nuances and variables, the beginning of your journey is a simple one.
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