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January 2018 - Blog

11

Jan
2018

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In Uncategorized

By vashi

20 Split Diopter Shots in DRESSED TO KILL

On 11, Jan 2018 | No Comments | In Uncategorized | By vashi

 

My love for the Split Diopter shot knows no bounds. It’s a cinematic device that is both obvious and supremely effective. I’ve explored it in depth here and here.

I now triumphantly return with even more visual storytelling examples from Brian De Palma’s epic thriller DRESSED TO KILL:

 

12 of the 20 Split Diopter shots in DRESSED TO KILL

 

To reiterate…the most effective use of this optical device is to emphasize a story point and for it not to be a visual gimmick. De Palma incorporated this technique across every film he directed and it is a staple of his visual style.
Read more…

VashiMorphic40 – The Free Anamorphic
After Effects Template

 

Download Template (.zip file)

Download Template – 4K Version (.zip file)

Download Template – After Effects CS5.5 Version (.zip file)

Films shot in the Anamorphic process are instantly recognizable. They have a quality and resonance that other lenses can’t capture. Anamorphic films seem to capture an almost 3D quality onto film’s 2D medium. The process makes creative use of aberrations such as long horizontal lens flares, oval bokeh and highly curved corners that all add a sense of heightened reality.

Films are real but not necessarily reality…and the subconscious effect of Anamorphic lenses delivers an exaggerated look that is hard to replicate. This process is much more than just a wide aspect ratio..as demonstrated in The Ultimate Aspect Ratio Guide.

Main image of the demo for VashiMorphic40 wth curved lines

VashiMorphic40 replicates the lens curvature of a 40mm Anamorphic lens

Films shot in the Anamorphic process include: Jaws, The Royal Tenenbaums, Raiders of the Lost Ark, Pulp Fiction, Die Hard, The Parallax View and countless others. Getting your hands on Anamorphic lenses is very difficult for the low budget filmmaker…so I created my own After Effects project template that replicates the look and feel of the Anamorphic process. If you drop your footage into the timeline…you will have access to 3 options that help you achieve the magical look without resorting to additional adaptors or lenses. This workflow has been optimized for cameras that capture 16:9 footage and for lenses between 28mm to 35mm (Full frame equivalent).

The Anamorphic lens that I chose as the holy grail to emulate is the Panavision Primo 40mm Anamorphic. It was the ONLY lens used on Roman Polanski’s Chinatown and used 95% of the time on Wes Anderson’s films Rushmore and The Life Aquatic with Steve Zissou.

I am proud to share with you my free After Effects Plugin Template…VashiMorphic40. Read more…

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