The preferred focal length on Deakins is around 40mm, which mimics the human eye. That’s why he prefers shooting spherical over anamorphic, and on ARRI lenses. Universal Picturesĭeakins can’t stand lens artifacts (flares, vignetting, and breathing). BTS of DP Roger Deakins, Charlie Rizek, and the ARRI Trinity in 1917. That’s another reason why moving the camera is preferred comparing zooming. Furthermore, the tech assists you to move the camera, as the camera is more compact and the form factor si much more gimbal-friendly. According to Deakins, they used only one prime lens (which is hard to believe since recourses indicate that the focal length in 1917 was around 30mm-50mm shooting on the ARRI Signature Primes), BTW, 1917 was shot on the ALEXA Mini LF which is a large sensor camera that grants the privilege of enhanced motion (a positive side effects when shooting on large sensors). Technologiesĭeakins says that nowadays, the technologies allow the camera to move like never before, and that advantage produces more sophisticated kinetics. The preferred focal length on Deakins is around 40mm. Roger Deakins Talks About the new ALEXA Mini LF. That amplifies the movement even further, makes it more cinematic than just zooming. Also, in primes, you can’t zoom, but move the camera when framing. He prefers primes, since a constant glass forces you to change camera location, and thus makes you spend more thinking about the shooting angle. zoomsĭeakins touches on the never-ending debate: Primes vs. Roger Deakins on the set of The Company Man. In other words, Deakins prefers his glass clean, simple, and native. To sum it up within a sentence: Primes preferred, clean look (no breathing, no vignetting, and no flares), and a natural focal length (around 40mm-50mm). Most people that work the other direction by choosing how tight they want the shot by picking the focal length first tend to not understand or utilize positioning the camera differently for various perspectives.”Ī YouTube video featuring Coen brothers cinematographer Roger Deakins explains his reasoning for selecting a wider lens for shooting dialogue.Īlthough Deakins speaks from the filmmaker’s perspective, the concepts are the same for the still photographer.In this cool episode by StudioBinder, We’re getting exposed to Roger Deakins’s preferences regarding cinema lenses. Those two things will tell you what focal length to use. You can then decide how wide or tight you want the frame to be from that perspective. “How close the camera is dictates the relationship of your subjects to the space they’re in. capMSFC stated, “The point is that deciding the focal length should be the product of deciding the shot first. On the filmmakers sub-Reddit that featured this GIF, an interesting dialogue played out about intent and focal length. 85mm) without considering that there is still a dramatic difference between 85mm and 200mm (and perhaps the narrative effect of more environment). Professional tend to reach for their “portrait” lens (e.g. Yes, it’s been done before ( here, here, here) and many photographers intellectually know that a longer focal length yields more compression of foreground/background elements and less distortion facial features, but rarely is the effect so obvious – as made so by the animated GIF.Īmateur photographers tend to think of focal length as a zoom feature on their camera without realizing the distortive effects it can have on the subject. Amidst a plethora of tutorials of questionable value, along comes of GIF of unknown provenance that illustrates the effect of focal length on a portrait.
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