Sometimes the composition of a static frame can overwhelm you. The power of a carefully crafted image can be staggering.The Polish film IDA was just nominated for the Best Cinematography Oscar by The Academy.
90% of the film is shot on a locked off tripod. With so many tools (dollies, sliders, cranes, drones, steadicams, Movis…) available to filmmakers, it is refreshing to experience a movie that chose so many exquisite and deliberate static frames to best tell the story.
Each new shot reveals something about the lead character. Emotions, state of mind and the story’s drama are expressed by the use of camera placement and lighting…not by spoken words. Do yourself a favor and track down this stunning film to experience the power of the static camera.
Here are 52 of my favorite shots from IDA (click image to enlarge)
CLICK TO ENLARGE
Shot on Arri ALEXA in 1.33:1 aspect ratio with Zeiss Ultra Primes. In post production, the color footage was converted to black and white with Nucoda.
IDA recalls for me, the classic cinema of the 1940’s, evoking visual elements of both film noir and Italian Neo-realism.
3 minutes of IDA
DP Ryszard Lenczewski took 3000 photographs to previz and storyboard the film.
Lighting diagram of kitchen scene
www.theasc.com/asc_blog/thefilmbook/2014/05/13/lighting-scenes-ida-with-lukasz-zal/
Learn more about the cinematography of IDA from the DPs
Lukasz Zal & Ryszard Lenzewski HERE and HERE.
SOURCE: LENSCULTURE article written by Alexander Strecker
“Ida: Sketches” – photos by Ryszard Lenczewski
one of 3000 photographs used to previz and storyboard IDA
RELATED:
Ultimate Aspect Ratio Guide
The Cinematography of The Ipcress File (1965)
Until next time…
