There can be variance on so many levels, but capturing everything through the restricted view of a single lens keeps it all grounded. Mostly 35mm film, which in digital terms is similar to APS-C. cinema5D GmbH, Kranzgasse 22/9-10, A-1150 Vienna, Austria, FilmConvert Profile for Sony a7S III Released, Fixed! However for a good chunk of the film that lens either had debris on it or got cracked which actually was a bit distracting…. It’s not an amazing lens, but it’s very nice, and on my GH5 with a 0.64 speedbooster, it comes out to 64mm FOV, which is similar to the 40mm FOV on an S35 frame. After this movie, him and Luca Guadagnino worked together on another feature, the horror Suspiria, for which they used a whole variety of lenses. If you want to see this to the extreme watch any film by the Japanese master, Ozu. https://www.imdb.com/title/tt1379182/. Never would have guessed only one lens. Follow Noam on Twitter, Instagram and Facebook for more content like this! . Director Guadagnino wanted the space to breathe still. If you have seen the movie, did you like how the cinematography turned out? The film was almost entirely single-camera with ARRI/Zeiss Master Primes: I’d say 98 percent single camera. Let us know in the comments below. I’ve tried shooting short films entirely on a 50 and in a tight space like a bedroom you find yourself backed against the wall before you know it trying to get the shot. Now I know that it was a Cooke S4 35mm lens and i will update the article. Aka a "stock shot", it says this film is old. “Tangerine” Although Sean Baker’s crowdpleaser “Tangerine” wasn’t the first film to be lensed … Mukdeeprom’s initial idea was to shoot only with natural light, but that later proved impossible due to exceptionally heavy rains in Italy at that time. Or Is escaping from a QC is completely unavoidable and we have to do it if we want good distributers to take our film. Thanks! One-shot movies (also known as single take or continuous shot films) have made some noise this year, but ambitious filmmakers have been making these technical marvels for decades. In many cases, this has translated to shooting an entire feature film on a single prime lens. If you want to see a whole building you have to step back. Be sure to share it with me when you do. Consider to make a feature film by Zeiss Contax 28mm f2 & 50mm f1.4 on BMPCC4K (with x0.64 SB). Look through a 50mm lens, mark widest points left and right, then top and bottom, then step away from the viewfinder and notice how much WIDER the human eye is. His work can be seen at international film festivals, on network television, and in various publications across the globe. just a side note to add to your blog post. While I’ve never done it myself, the idea of shooting an entire movie using just one lens has always intrigued me. At least those that have shot more than a couple of films and have started to develop some creative biases. Thank you, that is a very good approach. You will NEVER see like that with your eyes. Other challenges of the shooting were the weather conditions. I’m a huge fan of imposing creative limitations on myself, and what better way to do that than by restricting lens choice and field of view. I want to tie my hand to this approach, because this is how I work. Even 2 would create a great limitation to work with. Wilkinson defines film as being shot from a single point of view - as with Le Prince's next invention, the single-lens camera. Some Japanese Cinematographers are known for shooting with the 35 or just a 50 and move the camera. ShotOnWhat? Take a spare film in your pocket. Hitchcock did it with Psycho – shot entirely on a 50mm lens, but he was far from the first or the last. Chinatown and all the Wes Anderson movies in the 40mm section were shot on anamorphic, so same fov as 20mm and still pretty wide…. I have measured this many times. I think 15mm is about the width of our eyes, far wider than 30-50mm. They worked with less gear and more constraints to create something remarkable. Look at fisheye. Try it for yourself. He also mentioned in an interview how shooting on film gave him the freedom to play with color grading and the final look of the film. No version is right or wrong, but both will be entirely unique and different from each other. He is not inventing the warm water. Yes, I am sorry I didn’t do the complete research. You can also move in just a little bit closer for a medium close up shot to better show the expressions and emotions of an actor. The human eye is closer to a 17mm to 20mm lens on a 35mm camera, but on a 35mm movie camera that is a 1.5 crop factor, so the 35mm lens is actually closer to 50mm, far narrower than the human eye.