First post, but have been stalking around DVXUser for a while.
As a director I've been super focused on nailing excellent performance. Recently I've started focusing my personal studies more on visual vocabulary- the placement and movement of the camera to illicit different feelings and emotions from the audience.
Thought I'd throw out a few ideas and pose a couple questions to start a friendly conversation on the subject.
1. Lens Choice - I grew up on HandyCams. You want a close up? Zoom in. Wide shot? Zoom out. Transitioning to DSLRs and prime lenses I started to get a sense of the affect a lens has on an image. But still, close-ups on 85mm and wides on 35 or 20.
Recently I've started to notice that wide lenses are used quite a bit for close-ups. They really play into the Hitchcock principle (the object of most importance should be biggest in the frame) when dealing with foreground elements. They also engage the character in his surroundings more.
I've also started to notice that lens choice varies project to project, with the majority of scenes being shot around a certain focal length (ie. Game of Thrones tends toward longer lenses where There Will be Blood dances around the wide end of the spectrum of course with exceptions).
Here's the discussion question: In your opinion, what emotion does a wide lens evoke? A long lens? How do you select your lenses?
2. Camera Angle - There's the traditional (and over generalized) rules: low angle for power, high angle for submission. Fincher loves to shoot up high (see Zodiac, Fight Club and his Lexus commercial).I've noticed many films that use profile, and quarter profile angles especially when the mood is unsettled.
Personally I prefer slightly lower angles to add weight to my subject. People feel bigger, larger than life, more cinematic to my eye.
What angles do you enjoy? How do you select your angle? What feelings do you attribute to different angles?
3. Camera movement - Martin Scorcese flys his camera around while Wes Anderson prefers titular and exaggerated camera movements. Clint Eastwood shoots on steadicam. The handheld look is in vogue, I find it does illicit tension and freneticness.
I've started to break out of the mindset of the traditional OTS, one shot, two shot, wide shot coverage. I've started using camera movement to get out of this pattern. It feels more organic, for instance, to play a scene wide and dolly into a close-up or medium(best with wider lenses I'm finding). I find it's more efficient to shoot this way and gives me more time to work with my actors (they also enjoy the freedom).
What camera moves do you find yourself using over and over? Do you prefer handheld, dolly or Steadicam? Whose camera movement inspires you?
Lastly, how would you describe your unique style? What about the style you want to have?
I think this is an important discussion to have especially for intermediate filmmakers. Not only will comparing notes help each other, but those just getting into it will hopefully pick these things up quickly. It sure took me a while at least.
As a director I've been super focused on nailing excellent performance. Recently I've started focusing my personal studies more on visual vocabulary- the placement and movement of the camera to illicit different feelings and emotions from the audience.
Thought I'd throw out a few ideas and pose a couple questions to start a friendly conversation on the subject.
1. Lens Choice - I grew up on HandyCams. You want a close up? Zoom in. Wide shot? Zoom out. Transitioning to DSLRs and prime lenses I started to get a sense of the affect a lens has on an image. But still, close-ups on 85mm and wides on 35 or 20.
Recently I've started to notice that wide lenses are used quite a bit for close-ups. They really play into the Hitchcock principle (the object of most importance should be biggest in the frame) when dealing with foreground elements. They also engage the character in his surroundings more.
I've also started to notice that lens choice varies project to project, with the majority of scenes being shot around a certain focal length (ie. Game of Thrones tends toward longer lenses where There Will be Blood dances around the wide end of the spectrum of course with exceptions).
Here's the discussion question: In your opinion, what emotion does a wide lens evoke? A long lens? How do you select your lenses?
2. Camera Angle - There's the traditional (and over generalized) rules: low angle for power, high angle for submission. Fincher loves to shoot up high (see Zodiac, Fight Club and his Lexus commercial).I've noticed many films that use profile, and quarter profile angles especially when the mood is unsettled.
Personally I prefer slightly lower angles to add weight to my subject. People feel bigger, larger than life, more cinematic to my eye.
What angles do you enjoy? How do you select your angle? What feelings do you attribute to different angles?
3. Camera movement - Martin Scorcese flys his camera around while Wes Anderson prefers titular and exaggerated camera movements. Clint Eastwood shoots on steadicam. The handheld look is in vogue, I find it does illicit tension and freneticness.
I've started to break out of the mindset of the traditional OTS, one shot, two shot, wide shot coverage. I've started using camera movement to get out of this pattern. It feels more organic, for instance, to play a scene wide and dolly into a close-up or medium(best with wider lenses I'm finding). I find it's more efficient to shoot this way and gives me more time to work with my actors (they also enjoy the freedom).
What camera moves do you find yourself using over and over? Do you prefer handheld, dolly or Steadicam? Whose camera movement inspires you?
Lastly, how would you describe your unique style? What about the style you want to have?
I think this is an important discussion to have especially for intermediate filmmakers. Not only will comparing notes help each other, but those just getting into it will hopefully pick these things up quickly. It sure took me a while at least.