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Ultimately the director has the last say so what you describe is possible and ‘technically’ ok. Of course it’s not fulfilling as you’re more of a camera operator. So other factors decide whether to take the job (pay, gather experience, make connections ect). But even a job like this should present situations where you can bring yourself in.
It seems like 50mm was – and still is – the easiest (and cheapest) to design and build to achieve good image quality at fast apertures.
The ‘Double Gauss’ design was invented in 1817 by Carl Friedrich Gauss as a telescope lens and later refined by many others like Taylor Hobson in the 1920’s (later resulting in the Speed Panchros). The current design, presently found in inexpensive but high quality fast lenses like Canon EF 50mm 1.8 or Nikon AD 50mm 1.8, can be traced back to 1895 to Paul Rudolph and Carl Zeiss (the first Zeiss Planar lens).
From Wikipedia:
“The design forms the basis for many camera lenses in use today, especially the wide-aperture standard lenses used on 35 mm and other small-format cameras. It can offer good results up to f/1.4 with a wide field of view, and has sometimes been made at f/1.0. The design appears in other applications where a simple fast normal lens is required (~53° diagonal) such as in projectors.”
So the projection thing would make sense not just for the viewer experience but also on a technical level!
“Maybe it’s me getting too into the weeds with so much information out there on filmmaking, which gets me overthinking everything to the point of over-analysis often hahaha.”
Clint Eastwood often says: “Let’s not overthink things”.
On the other hand I think pondering over such things and looking at how other people do it is part of learning and finding your own voice.
I think in the situations you describe, key is what you said, to discuss more dramatic changes in exposure with the director and/or DP. Because sometimes things are really intended not to be seen. I had this issue a few times, where the colorist pushed the (low-key) image so that the viewer could better see what’s happening. But the intended purpose was to force the viewer to guess, not see, which was much more powerful.
He answers most (or maybe all?) of these questions in the latest Q&A video on their YouTube channel, e.g. he does not visualize much of a script before having talked to the director about his/her vision.
In-camera action with no (or very little) editing is the only kind of action that I like. The corridor fight scene in ‘Oldboy’ is my favorite.
Hey Andy, do you have a website or reel ect?
Great work! Love the daylight interiors. Most DP’s shy away from using no or little film lights but I too prefer when they start from the minimum (nothing) and work the way up only if necessary.
