I think it's acquainted.

Hello, I'm Tom Siegel, and I've been a cinematographer for the past 40 years.

Today I'm gonna be focusing on how filmmakers achieve the desired mood as it relates to lens choices.

For instance, what's the difference between a wide lens?

Normal ends?

Telephoto may have noticed some changes just then.

At the moment, one of very long lens camera is very far.

No, let's take a look again violet Different as we change focal lengths, you may not notice a huge difference.

Now just hold out because we're getting there.

I should start by mentioning that the visual power of any given shot or seen is determined by three principal factors.

Composition, lighting, camera lens choice impacts each one of these way described lenses in terms of something called focal.

But hold on.

Don't move.

Okay, so in light rays pass through a lens, they converge to form a picture on what we call the image plan.

Film could be a digital sensor.

This is how every image you see on the screen is born.

The distance between the optical center of that lens image plane.

It's called focal length, but it's usually expressed in millimeters.

So here's one way to think about it.

The longer the Focal Inc the more narrow your angle of view the short of the focal length, the wider your short link will link the war.

My dear, all your angle of you, it'll make more sense in a bit.

But for now, let's talk about this angle of you think when you have just one subject like me against a blank background like this, it's hard to see the difference.

So we're gonna need some set dressing here toe understand angle of view.

It's often mixed up with field of you.

It's not exactly the same thing.

Our choice of lens will not only affect the way I look, but also how much of the world you see behind me and how much you see in front.

Remember, telephoto lens, which were in now, has a narrow field of view, so you don't see a whole lot behind me, but back in the wide lens on the same size.

But you can see much more behind me.

To do that, we've had to move the caramel much closer, so a director may want more background in a shot.

Or maybe not.

But that's an example of wine lens choices so important.

Let's look at some examples and film of how these techniques are used.

So this is a clip from the movie Dr directed by Nicolas Winding Reference.

Nicholas likes wide lenses on one of the effects that it has in particular.

When you have the singles like this, where you only see Oscar and you don't see Ryan is, it creates a feeling of space between them that they're very far apart.

They're not really connect actions.

10 of the same time audience feels their proximity.

You know, by this lens choice that you're close to these people, that you're close to those actors.

You can feel it so it creates a kind of intimacy between the viewer and the performer, even though you're not in a big, close up very different field.

And if these had been on long lenses where you feel like you might have been 1/3 party observer or an objective fly on the wall, why do you want to know who they are?

Thing is a moment in drive where We use the telephoto lens to really create a feeling of alienation.

He's about to make a very radical decision, and we wanted to give the audience a view of that from a more objective or show.

It's a voyeuristic point of view.

So the long lens gives the audience a feeling of being further apart and the shell a depth of field isolates Ryan from the background.

Could you act in a more professional manner, please?

You're making me crazy.

This is another example of the use of very wide lens and close proximity to the actors.

Once again, it creates a feeling of subjectivity and being right into the physical space where the actors are performing.

One of the interesting things about this sequence is that scene following this is actually done with very long lenses help.

These shots that you're seeing now are very close, their close ups and yet they don't have the same kind of intimacy that a shot has where the camera is literally inches from the subject with the widening the length.

But right now we're gonna talk about normal ends.

But some people call standard linds.

Now this lens is called normal because typically it creates a less stylized image.

And what we accept his normal human vision.

This is seen from Bohemian Rhapsody.

It's meant to be a romantic scene.

It's really meant to show how much these characters love each other, and it's predominately done with normal lenses.

The camera is relatively close to the actors, but not intrusive, and the relationship between the two of them, the size of the head in the frame, is fairly similar.

Neither one of them is dominating or predominating the other, and you get, uh, a very naturalistic feel of a normal ends.

Now, when setting up a shot, all cinematographers have to ask, How do we want the audience to feel about the character was shooting?

Do you want to view like, um, empathize with them?

We want them to feel uncomfortable, claustrophobic.

Sorry about that.

My point is, the different lenses can create a completely different feel with the very same subject.

This is CNN Three Kings, where Mark Walberg has just been rescued and scene begins.

What sort of more normal and even slightly telephoto.

So the space between these characters seems quite close.

The audience feels like they're watching outside with you in a little bit.

And tthe e relationship foreground and background tends to be very similar.

There's moments when the character of nowhere is wounded.

And when George Clooney goes into action here for a moment, we come back to a more subjective, wide angle point of view.

We're now starting to get right in there.

We feel like we're right up close to the characters.

We feel like we're in the middle of the action.

Let's stress can also make two people look right on top of each other.

We're a mile apart.

A wide angle lens will inherently appear to have more perspective than a telephoto.

For example, the wide angle lens makes her sound mixer feel a lot farther for me than she actually is.

But what if we wanted to be right in my face?

Let's look a telephoto version of the same exact setup notice with a telephoto lens.

It compresses the space between us.

It makes us look closer together.

She's bigger frame, but our heads arm or the same size relative to one another, and this is what it looks like on a normal ends and the distance between the sound recordist and myself feels a little more natural, and it's a little more true to the actual space will be all right Here.

You see an example with a long lens.

The movement is quite exaggerated.

Now.

Mark Wahlberg, from this moment on action is gonna become very, very subjective.

This is a good use of an extreme wide angle.

Lens camera is extremely close to the actors.

You'll notice that as characters leave and enter the frame, that movement is greatly exaggerated.

We really feel Ice Cube leaving in there.

You really feel Clooney coming from afar and coming right into the lens.

You really almost feel like it's your point of view.

These were done with especially lens called a Frasier lens, which was designed to make wide angle lenses, have an extreme depth of field and be able to get the lens is a very close proximity to the actors.

This is from Bohemian Rhapsody.

The opening is a big white swooping in, as you can see to the stage.

Here you see him taking his moment as the band members aren't sure what he's gonna do.

The camera continues to come around him, and we're still in this wide lens.

So as we come around, you can see that the audience is very far from him.

But now he's beginning to come into his own.

The audience is coming into it, and by using the Dolly zoom, we're bringing the audience closer and closer and closer.

Freddy is not getting any bigger in the frame, but the audience is getting closer simply by changing the focal length of the lens and the proximity of the camera to the subject.

Hopefully, this video has given you some insight.

It's a different lens characteristics and how they're gonna impact your story tone.

Give four cinematographers, same lenses, same subject matter.

And I guarantee you you'll have four different results.

That beauty you don't put any lenses.

Come on.