In the context of being asked why he does not use zoom lenses, Bruno Delbonnel said in FDT June 2019,
He also said when speaking about his journey to establishing his wide style
I entirely agree with Bruno. As I've shot thousands of hours of footage, with one lens at a time for periods of time, I've evolved to agree with this eye for storytelling over the years. Polanski seems to have the same eye as well as Bradford Young, Joshua James Richards, Chivo, Janusz kamiĆski, and many other modern DPs. Generally, I love the look of these filmmakers' work and aspire to reach their aesthetic in my own way. Questions for general storytelling
Deakins recently told me on his forums, he would choose a 32MM catch-all, what would you choose, and why? Any specific lens? S4, Ultra, etc
Would there be types of emotions or projects you would lean towards the wider 24/25, and some, you would lean towards the 35 end?
Do you see any general advantage for storytelling that a 25MM offers over 27MM other than a few degrees of FOV? Disadvantage being the rendering of the human face at close-ups. Any others?
Questions for my situation Following up on my last post, I recently acquired a crazy good deal on a 25MM Master Prime, I would have never purchased such a high-end lens except for the deal I got. I've shot extensively on 28, 24, and now I will be on the 25.
How sad should I be, that I am not sitting in this comfortable sweet spot of cinema history. And in fact, I am "stuck" in a compromise, without the "much nicer" 27?
Can I convince myself that a 25 MP (due to its increased DOF and rectilinear correction tech) may render facial character/close-up distortion as nicely as a 28 Ultra? ?
Or will I be forever unhappy and should I start the long journey of selling the MP while enjoying it, and start looking out for a single 28 Ultra, or 27 MP?