Emotion of lenses

[TimoVanLierop]

Hello everyone!

 

Next month, we’ll be shooting a new short film! This project is particularly special to me because it’s the first time we’ll have access to a lot of high-end gear that we’ll actually be using. We’ve carefully planned the shoot and chosen locations with the goal of creating a visually stunning film that showcases what we’re capable of.

 

I’m currently working on the shot list and wanted to get your thoughts on the emotional impact of different lenses.

 

We’ll be using my DZO Arles primes, and for the flashback scenes, I’m planning to use my Lomo Standard Primes.

 

Here are a few theories I’ve noted down so far:

 

•Using a longer lens for an OTS/POV shot can show that someone is emotionally close, while a wider lens creates more distance.

•A spying shot is best done with a longer lens.

•Close-ups with wider lenses can create a sense of discomfort.

•Emotional scenes often work well with longer lenses.

 

What do you think? Do you have any interesting theories on how lenses can convey emotion?

Topic

[G.C.]

Sure, most people will shoot a spying shot with a long lens. And close-ups on a wide lens creates discomfort.

Camera position and focal length represent the point of view (but whose? The viewer? The character’s? The filmmaker’s? Not for me to answer!). How intimate or distant we are from the subject, is determined by distance from camera to the subject. The focal length may represent how “mentally focused” we are on an element of the scene.

The only valid answer is that there are no rules. Nothing says a wide less is less able to convey emotion than a long lens.
Focal length, composition, position and movement of camera in space, are only tools and it’s up to the filmmaker to assign meaning to them in the context of a visual piece.

[Author]

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