Oh, those director's notes

[Tim O'Connor]

I got a shot list from a director today. Haven't reached him yet

to discuss this shot:

 

 

INT. BASEMENT - SAME12

We see L. through a lens that makes him look far away and

SMALL.

 

On this set, the camera is restricted by the real walls to being not more than 8-10 feet away from the subject.

 

I'm thinking the reverse telescope lens?

[Mike Washlesky]

I got a shot list from a director today. Haven't reached him yet

to discuss this shot:

 

 

INT. BASEMENT - SAME12

We see L. through a lens that makes him look far away and

SMALL.

 

On this set, the camera is restricted by the real walls to being not more than 8-10 feet away from the subject.

 

I'm thinking the reverse telescope lens?

 

 

Or how about a fisheye?? Wow. really vague info from that director.

[John-Erling Holmenes Fredriksen]

Yeah, you should probably consider going really wide to achieve the far-away-effect, as long as he doesn't move close to the camera.

[John Sprung]

Wide angle is clearly what he wants. The question is whether this is a practical location where you have plenty of ceiling, or a set on a soundstage, where you have nothing above the top of the flats.

 

 

 

-- J.S.

[Tim O'Connor]

Yes, you guys are on the money. Talked to him briefly today and we're going to scout this location on Sunday but wide is the key.

It is a practical location so not a problem with being limited by soundstage stuff in frame if I go as wide as possible. I'm thinking that

in addition to going wide, I'll also get up as high in the farthest corner as I can to diminish the impact of the actor in the shot by shooting down at him,

which seems to fit what the director wants, although I'll wait till we really talk and I get to see the space.

 

Fisheye is a good suggestion but probably not what he wants in this case, I'm sensing, although thanks for bringing it up.

 

It's a fun job. The guy is serious, thoughtful and has lots of good ideas, some of which just need a bit of translation now and then, but

it's good to be working with somebody who, despite the fun I had with this particular note that I posted, is a nice change from many of the run of the

mill directors in the business who aren't near as excited about finding the right look for a project that isn't the "right look" that they got from their last favorite

film or commercial or music video.