Roger Deakins on How to Choose a Camera Lens — Cinematography Techniques Ep. 8

Great video! It would be wonderful to have that type of analysis over cutting the head space or leaving room! I noticed that some directors like Tony Scott compress their caracters in the frame ( no space above the head) even on a medium shot!

Is his focal length references about FF or S35

Romans 3:10, 23
As it is written, none is righteous, no not one
For all have sinned and fall short of the glory of God

Romans 6:23
For the wages of sin is death, but the free gift of God is eternal life in Christ Jesus our Lord.

Acts 2:38
And Peter said to them, "Repent and be baptized every one of you in the name of Jesus Christ for the forgiveness of your sins, and you will receive the gift of the Holy Spirit."

Did they used an anamorphic lens

So overrated.

I like how Deakins references focal lengths in terms of Super35.

Can anyone please list all movies shown in this video .. because I have the idea that all of them are really good to watch and it seems I haven't seen only a few of them.

Pretty dope choice using Makeup and Vanity Set at the end.

Deakins shots are actually quite simplistic and basic. The lighting and framing are what really make his work look so good.

This is 10% of how to choose a lens and 90% just stories of the olden days. It's great content and interesting to watch, just not really relevant to the title

I loved the constant shade thrown at JJ Abraham’s throughout this haha. His writing and directing always feels artificial

I could listen to his voice all day.

I'm so glad to hear someone other then me (a nobody) rant about lens breathing. I'm always complaining about how much I hate the anamorphic zooms that they love to use on the new Star Wars stuff and the insane lens breathing distortion they add to shots. Some shots in the Disney Star Wars movies are really hurt because of it. There's a shot in Andor where they are focused on the ocean horizon and then they rack to a character in the for ground and the horizon shifts because of how bad the distortion is. It was a viscerally nauseating effect meant for a bittersweet relieving moment.

May I ask where you license Makeup & Vanity set from? Heard it at the end. Are they on Musicbed? Great vid!

I like lens breathing. 😂😂😂

These tips from Roger Deakins are gems! Thanks a lot!

I always liked Prime, cuz I liked the fact that, it forces you to make a decision where you gonna put the camera and what lens are you going to put it on.

I loved this, is there a full series?

Min. 2.12 very surprised! I would have said the opposite... But the sequence speaks for itself confirming Deakins' statement.

A lot of the things he doesn't like I find beautiful but Deakins work is also clearly masterful. Had the opportunity to work with him a bit on a film and he was beyond a class act. Really specific. A joy really.

a lot of this big budget stuff shot on 75mm or anamorphic. In case you’re wondering why that 50mm looks a bit tight on your blackmagic 😅

When he is talking about the focal length, does the mean the focal length shot on super35 or full frame?

this is such and invaluable resource

Dude likes a Cooke prime since way back

Wow. I love rack focus.

I got into stills couple of years ago and with no intention of doing cideo. But man the more I see videos like this talking about cinematography the more i fall in love with it and want to try.

Deakins is a master.

While Tarantino is all cuckoo for film stock with zero understanding of why, Deakins actually understands capture and lensing like a master.

It's why digital capture with correct lensing easily beats film in the hands of a master. Look at films like Joker then look at the Hateful 8 and youll see the difference.

Don't stop talking Sir Roger

Was there a specific ep of his podcast this was pulled from?

So much insight.

Deakins is a master for sure.

This episode is a treasure trove of insights for anyone interested in the art of cinematography. Roger Deakins, one of the most accomplished and respected cinematographers in the industry, presents a nuanced understanding of lens choice and its impact on storytelling. His preference for prime lenses over zoom lenses isn't just about technical specifications; it's rooted in a philosophy that places intentionality at the core of filmmaking. When Deakins says that choosing a lens should be a deliberate decision, he's really emphasizing the idea that each shot is a conscious narrative choice, not just a visual one.

The segment on excessive coverage versus a more classical approach also brings up an interesting dilemma. In an era where technology makes it easy to shoot more, there's a certain discipline required to keep the storytelling concise and potent, akin to the style of legendary director John Ford. Every shot should have a purpose and should contribute something meaningful to the narrative. The lens, then, becomes an extension of this philosophy: it dictates how the story feels and breathes, it shapes the atmosphere and the emotional connection to the audience.

Lastly, Deakins' viewpoint on destroying the image with flares and other artifacts is a sober reminder that visual effects should serve the story, not the other way around. When he used these techniques in The Assassination of Jesse James by the Coward Robert Ford, they were motivated by storytelling needs, adding a layer of complexity and texture that was intrinsic to the narrative. This epitomizes his holistic approach to cinematography—every element, down to the smallest detail, should be in service to the story.

It's not just about which lens will give you a sharp image; it's about which lens will sharpen your storytelling. Thank you, Roger Deakins, for sharing such invaluable knowledge and helping us all become more intentional filmmakers. And a big shoutout to the Team Deakins podcast and the creators behind this series for facilitating this wealth of information. Whether you're an aspiring filmmaker or a seasoned professional, understanding the "why" behind lens choice is crucial, and this episode offers a masterclass in just that.

Graciaaas!

SO what should I do instead of rack focus? Just get a wider depth of focus? It all comes down to style, but I want to know his answer to this

its refreshing to see a world renowned cinematographer praise technically perfect lenses. a lot of people don't understand that its easier to make imperfections in post or with filters than it is to fix an imperfect lens' bad characteristics

What makes a master, is consistency. Making the right decisions for every setup, on every film, over the course of a career. Deakins does so. 👏🏻❤️👏🏻❤️👏🏻❤️👏🏻❤️👏🏻❤️👏🏻

Motion smoothing on these clips makes me want to due

I think it's interesting how he doesn't like pulling focus, and yet, the examples in the video of pulling focus were from movies that are still highly-regarded. It just goes to show that some of these techniques truly come down to artistic expression and preference, and you don't have to follow each person's rule by the book. You just have to know what certain types of choices will convey to the audience.

I was gonna watch this but his first choice to show is a hill billy. 👋 bye

I am a Photographer..and Roger Deakins is right. My Grandfather and Dad..taught me the true basics of Photography. I learned on Film..Yep that old deal..And now I shoot Full Frame..and Medium Format. All through my years..I AM 100% PRIME! Of course when I shoot Landscapes..I usually use 16mm and up to 30mm. When I Shoot Models..I love Sigma 50 Art Line. And 99% of the time..I also shoot MANUAL FOCUS! I Compose The shot I want..in my head first. Sigma Art Line..50mm, 85mm, 105mm and 135mm at 1.4.
I like to use Zeiss Otus Lenses. Since I Shoot Manual..Otus is perfect for me..Tripod is needed. I Also never use Artificial Light. I use Mother Natures Morning and Evening Light. Never shoot with direct sunlight at 12 Noon! Natural Shade is perfect for me. A perfect day for me to shoot is…an overcast day.
When I Use Fujifilm GFX 100s..I use their Medium Format Lens 80mm, which is actually a 63mm Prime. It is an excellent lens to shoot all day…in Hawaii for my Models. No Tripod is needed..since the GFX Fujifilm is image stabilized. Love it. Easy work.

I’m assuming he stalking about anamorphic lenses on Alexa bodies. Unfortunately he has shot on both XT and Mini LF cameras and so it’s hard to figure out what focal lengths were used in his shots 😂

short and on point!! thanks for the video :)

Appreciate this being put together respect to Roger & whoever was responsible very unique

It would have been better if it was told according to which sensor size. full frame, or super 35

Gorgeous. All of it.

Finally, someone else’s does not like flares. I was beginning to think I was the only one.