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@compfu@mograph.social
2025-12-31 14:31:00

This video essay about the look of Sinners (which was shot on 70mm IMAX and Ultra Panavision) brought up something I hadn't realised until now: the large format gives you a wide field of view with the look of a telephoto lens! What that means is that you get shallow depth of field like in closeup shots with the framing of a wider angle lens.
Personal observation: there's also very little barrel lens distortion that usually comes with wide shots on 35mm.

Screen grab of the movie Sinners by Ryan Coogler. A black pastor is standing inside a room made of white wooden planks and beams. He's forming a silhouette in front of an over-exposed white window. A cross is hanging on the wall screen left and a church boy is out of focus in the foreground. Green lines have been overlaid onto the image to underscore that straight lines at the edges of the frame are actually pretty straight.
A very wide shot from the modern remake of Magnificent Seven, which was shot on 35mm film using anamorphic lenses. Outdoor scene in a wild west town with wooden buildings. A group of at least a dozen people in period clothing is keeping their distance around the central character. He is a middle-aged man with short hair wearing a black dress coat. He's pointing a revolver towards a person just to the right of the viewer. This shot is not the same framing as the one from Sinners but it demons…