Storytelling with camera

you remember Patrick from the first video in this lesson I've invited him here to talk a little bit about camera use jeez can you tell us a little bit about how you use depth of field in storytelling so the one that has them that deaf of you is part of the storytelling is the fill as a short film that I worked on called the blue umbrella when the director sashka approached me about doing the cinematography he wants the audience to feel like they are sort of kind of watching this love story unfolds in front of their eyes so the idea was to try to use longer lens so that there's a distance between the camera to the subject it's like when you're in love you know you you just don't look at anything else you just kind of concentrate on you know the person in front of you you know that's kind of like the feeling we're trying to get in addition to all the other choices you make you can also choose to move the camera during a shot how do you ever use that to help tell a story oh yeah camera movement is very important for inside out camera movement is a big part of the camera structure of how the insight world works in the outside what works the inside world is is a perfect world you know it's imaginative so all the camera movement is very mechanical is very deliberate whenever is moving you know you can't predict where is going so everything is very formal and on the outside world on the other hands is more organic depending on the moments so so how we move the the camera is very very important and you're also focusing just like with a real camera to make sure the right things are in focus do you ever use focus as a way of telling a story or the way you focus yes actually on inside out we use focus to trying to add to the imperfection of the real world O'Reilly world because Riley's world is based on relocation San Francisco Minnesota we want the camera it just feels natural that the camera should feel real and imperfection is part of the real world and something about Pixar's focus is everything is always so perfect because we were inside a computer so we purposefully in act 2 and X 3 especially when the cameraman is trying to follow in action we purposefully miss some of the focus and then refocus you know this is just some of the subtlety we're trying to do to try to add to the imperfection it's something that hopefully the audience can feel but not something that they can't just say oh yeah as you can see what they did Thanks this is fascinating thanks for coming by well thank you for having me Evan you