Latest / Bulletproof Screenwriting™ Podcast / BPS 404: Hollywood Directing: How to Choose the Right Lens for Your Shot with Gil Bettman

Transcript

BPS 404: Hollywood Directing: How to Choose the Right Lens for Your Shot with Gil Bettman · Bulletproof Screenwriting™ Podcast

• 0:03
  Speaker 1: You are listening to the IFAH podcast Network. For more
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  Speaker 1: amazing filmmaking and screenwriting podcasts, just go to ifahpodcastnetwork dot com.
• 0:12
  Speaker 2: Welcome to the Bulletproof Screenwriting Podcast, Episode number four zero four.
• 0:17
  Speaker 2: Skills Are Cheap, Passion is Priceless.
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  Speaker 1: Gary Vanderchuk broadcasting from a dark, windowless room in Hollywood
• 0:25
  Speaker 1: when we really should be working on that next draft.
• 0:27
  Speaker 1: It's the Bulletproof Screenwriting Podcast, showing you the craft and
• 0:31
  Speaker 1: business of screenwriting while teaching you how to make your
• 0:34
  Speaker 1: screenplay bulletproof.
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  Speaker 3: And here's your host, Alex Ferrari.
• 0:40
  Speaker 2: Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast.
• 0:43
  Speaker 2: I am your humble host Alex Ferrari. Now, today's show
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  Speaker 2: is sponsored by Bulletproof script Coverage. Now. Unlike other script
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• 1:34
  Speaker 2: Today's show, I wanted to give you a sneak peek
• 1:37
  Speaker 2: at the Hollywood Directing Masterclass course that we released with
• 1:44
  Speaker 2: Gil Beckman, and it is a game changing course, and
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  Speaker 2: I wanted to give you one of the lessons for
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  Speaker 2: free so you guys could listen to it just see
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  Speaker 2: what kind of cool stuff Gil does. I mean, I mean,
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  Speaker 2: I've been directing for twenty years, and you know when
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  Speaker 2: I watched this course and took this course, Gil gave
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  Speaker 2: me all sorts of ideas that I just did not
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  Speaker 2: have before. And it's one of the best rated filmmaking
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  Speaker 2: courses on you. DEMI right now and without any further ado,
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  Speaker 2: here is a lesson on how to amp up your
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  Speaker 2: static shots just by using lenses. And you know how
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  Speaker 2: much I love my lenses, So it's kind of a
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  Speaker 2: little masterclass on lensmanship as he calls it and enjoy, guys.
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  Speaker 2: I think you guys are going to get a lot
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  Speaker 2: out of it.
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  Speaker 4: The different lenses lend themselves to two different kinds of shots.
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  Speaker 3: Okay, So when you're talking about.
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  Speaker 4: Field of vision and depth of field, all right, with
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  Speaker 4: a wide angle lens, you've got you can see, you.
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  Speaker 3: Know, the world, the entire world.
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  Speaker 4: Okay. So what would be a good shot to do
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  Speaker 4: with a wide angle lens? A big, a big shot,
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  Speaker 4: pardon a big master okay, but but specifically, what's what's subject?
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  Speaker 4: Do you kind of if you want to do a
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  Speaker 4: city or even if you want to do a shot
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  Speaker 4: in a bathroom, you want to get the entire boundary? Yeah,
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  Speaker 4: all right, but but but that's a little atypical. But
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  Speaker 4: but basically, with a wide angle lens, when you're talking
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  Speaker 4: about if it's big and you want to see all
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  Speaker 4: of it, right, use the wide angle lens. Basically it's
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  Speaker 4: your establishing lens because you see all of it and it's.
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  Speaker 3: All in focus.
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  Speaker 4: So a big room or a typically a big room
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  Speaker 4: or a big stadium, right, all right, This is this
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  Speaker 4: is the thing about a normal room will look the
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  Speaker 4: true size, not with a fifty million miter lens, but
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  Speaker 4: with a but with a wide angle Okay, because of
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  Speaker 4: the field of the field of vision property, the telephotos
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  Speaker 4: are good for something which is like if you if
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  Speaker 4: you have one thing and you want to you want
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  Speaker 4: it to fill the frame.
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  Speaker 3: And to be that which is like.
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  Speaker 4: An isolate You want to isolate something in a frame
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  Speaker 4: like this shot of a butterfly.
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  Speaker 3: Okay, this is a.
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  Speaker 4: Good application of a telephoto.
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  Speaker 5: Lens, right because you see only this one thing because
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  Speaker 5: of the narrow field of vision, right, and because of
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  Speaker 5: the narrow depth of field, only the butterfly is in focus.
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  Speaker 4: Everything else is soft. This is the Brooklyn Bridge with
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  Speaker 4: a wide angle.
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  Speaker 3: Lens, and you see all of the.
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  Speaker 4: Bridge and much of the Manhattan skyline behind it.
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  Speaker 3: Okay.
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  Speaker 4: So if it's big and you want to see all
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  Speaker 4: of it, use the wide angle lens. Because of the
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  Speaker 4: wide angle lenses the ability to show you great field
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  Speaker 4: of vision and great depth of field.
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  Speaker 3: Okay, that clear. Now, if you're.
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  Speaker 4: Talking about applications of lenses in terms of in terms
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  Speaker 4: of perspective, okay, the way that the way the perspective
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  Speaker 4: changes the way the things look. With a wide angle lens,
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  Speaker 4: it makes objects look bigger.
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  Speaker 3: Or more or bulkier or more bulbus.
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  Speaker 4: More round, right, I mean, for a perfect example, if
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  Speaker 4: if if you had a beautiful Greek column, If this
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  Speaker 4: is a Greek column, all right, of the Parthenon, and
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  Speaker 4: I shot it with a wide angle lens at this height, with.
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  Speaker 3: A nine to five lens.
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  Speaker 4: Okay, what would it look like?
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  Speaker 3: You know exactly, Angela's got it.
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  Speaker 4: It would be it would paper to the top, paper
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  Speaker 4: to the bottom, and be fat in the middle. Is
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  Speaker 4: that aesthetically pleasing? No, because it's made. What is graceful
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  Speaker 4: has been made bulky and bulbous. Okay, but some things
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  Speaker 4: look good bulky. And what can you think of which
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  Speaker 4: looks big? Good? If it's big and fat and juicy.
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  Speaker 3: A burger?
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  Speaker 4: A burger is closer to it, all right, A burger
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  Speaker 4: looks good big, fat and juicy.
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  Speaker 3: What else besides the burger food? What other piece of food?
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  Speaker 4: Apple? Ice cream or an apple? An apple or a tomato? Right?
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  Speaker 3: Or a car?
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  Speaker 4: For some weird reason, cars look nice when they're big
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  Speaker 4: and curvy, kind of like girls. I don't know, the biggest, biggest,
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  Speaker 4: not right, but kirvy. The distortion of a car, you know,
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  Speaker 4: the lines of a car made kurvy by the distortion
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  Speaker 4: of the wide angle lens. This this distortion here, the
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  Speaker 4: extreme wide angle looks good. Okay, that's the way the
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  Speaker 4: perspective alters the way the things look. Now with telephoto
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  Speaker 4: it's the opposite. Okay, with the extreme telephoto extreme long lenses,
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  Speaker 4: you get things looking thinner. Okay, what looks better thinner?
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  Speaker 4: If you're shooting a close up on your leading lady,
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  Speaker 4: what lens are you gonna use?
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  Speaker 3: No?
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  Speaker 2: I can't speak more highly about this course. I mean,
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  Speaker 2: it's such a great course on directing and specifically how
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  Speaker 2: to move the camera, how to get good action sequences,
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  Speaker 2: how to tell a story visually. We'll be right back
• 7:32
  Speaker 2: after a word from our sponsor, and now back to
• 7:38
  Speaker 2: the show. It's just a it's a unique course because
• 7:43
  Speaker 2: there is not much of anything like this out online,
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  Speaker 2: and it's so well put together, and Gil is a,
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  Speaker 2: you know, just an amazing instructor. So I definitely advise
• 7:54
  Speaker 2: you guys to go out there and check it out.
• 7:56
  Speaker 2: Just head over to Bulletproof Screenwriting dot TV for its
• 7:59
  Speaker 2: Lash for zero four. Thank you so much for listening
• 8:02
  Speaker 2: to guys. As always, keep on writing no matter what
• 8:05
  Speaker 2: I'll talk to you soon.
• 8:07
  Speaker 1: Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproof
• 8:11
  Speaker 1: Screenwriting dot tv.