Best Lenses for Camera Car Cinematography
Car chases, thrilling escapes, high-octane races—capturing these dynamic scenes requires a mastery of camera car cinematography. And at the heart of it all lies the crucial choice of lens. In this exclusive look at the Filmotechnic Camera Car Masterclass, Shane Hurlbut, ASC, breaks down his approach to lens selection, providing invaluable insights for cinematographers seeking to elevate their action sequences.
CAMERA CAR LENS CHOICES:
Ready to master the art of lens selection for dynamic car sequences? Shane Hurlbut, ASC, shares his insights on choosing the perfect lenses for the Filmotechnic Camera Car’s Flight Head. He covers everything from wide-angle perspectives to long lens compression.
ALL-PURPOSE LENSES
While a wide array of lenses can be utilized on a camera car, Shane highlights the Angenieux 17-80mm and Canon 14.5-60mm as exceptional all-purpose options. These versatile zoom lenses provide a wide range of focal lengths. Thus, allowing for flexibility in framing and composition while maintaining high image quality.
Angenieux 17-80mm: This workhorse lens offers a fantastic balance of wide-angle coverage and telephoto reach. In that way, it’s ideal for capturing a variety of shots, from expansive establishing shots to close-ups. Its robust build and precise mechanics ensure reliable performance even in demanding shooting conditions.
Canon 14.5-60mm: This lens offers an even wider field of view, allowing you to capture truly immersive shots that place the viewer right in the heart of the action. Its fast T2.6 aperture provides excellent low-light performance and shallow depth-of-field capabilities.
THE WIDE-ANGLE ADVANTAGE (AND WHEN TO AVOID IT)
You might be wondering why Shane often gravitates towards super wide lenses for car photography. Especially since conventional wisdom suggests sticking to 27mm to minimize distortion. The key lies in understanding the desired aesthetic and the specific needs of the project.
CLEAN & BEAUTIFUL OR GRITTY ACTION?
The choice of lens dramatically affects how your car-to-car action sequences will look and feel. For projects like car commercials where showcasing the vehicle’s sleek design and elegant lines is mission-critical, a 27mm lens (or longer) is often ideal. This focal length minimizes distortion, providing a clean, polished look that highlights the car’s beauty — think of those glamorous car commercials where every curve and reflection gleam.
However, when the goal is to immerse the audience in the heart of a high-octane chase, Shane Hurlbut recommends embracing wider lenses, like a 14.5mm. This allows him to get incredibly close to the action, putting the audience right in the driver’s seat, practically feeling the wind in their hair. The wide field of view also emphasizes the speed and movement of the cars, creating a more visceral and exciting experience as the world rushes by in a blur.
By quickly panning or “swinging” the camera, Shane can capture the car from a variety of dramatic angles, adding dynamism and energy to the scene. Imagine a shot that starts tight on the grill, then swings around to show the driver’s intense focus, and then swings again to reveal the pursuing car gaining ground.
While this wider lens can introduce some distortion, especially when shooting close-ups of the car, this distortion can be used creatively to heighten the sense of speed and danger. Ultimately, the “best” lens depends on your creative vision and the story you’re trying to tell.
CONVEYING SPEED ON SCREEN
Visually conveying speed on screen is a crucial aspect of car cinematography, and it relies heavily on creating a sense of dynamic movement and immersive perspective. While the camera car itself contributes to this, lens choice and camera movement play a vital role. Shane emphasizes the importance of what the audience sees on the periphery of the frame.
When a car is shot in profile, with trees rushing by in the foreground and the landscape blurring in the background, the sensation of speed is intensified. This effect is further amplified by utilizing a wide-angle lens. A wide-angle lens expands the field of view and captures more of that rapidly changing scenery.
In addition to peripheral vision, Shane highlights the effectiveness of “pushing and pulling.” Meaning, quickly moving the camera closer to and further away from the subject. This technique, combined with the wide-angle perspective, creates a dynamic sense of motion that punctuates the speed and draws the viewer into the action.
Imagine a shot where the camera pushes in close to the car’s grill as it accelerates. Then, it quickly pulls back to reveal the entire vehicle hurtling down the road. This push-and-pull technique, combined with the blurred background and foreground elements, creates a powerful sense of velocity and excitement.
By mastering these techniques, cinematographers can effectively communicate speed on screen. This is turn creates truly immersive viewing experiences.
Master Long Lenses and Anamorphics for Car Action!
Discover how to choose the perfect long lenses and anamorphic lenses for your camera car cinematography. Join the Filmotechnic Masterclass or become an Annual Member to gain Shane Hurlbut’s expert insights.
CAMERA CAR F-STOP CHOICES:
Choosing the right f-stop is crucial for achieving the desired depth of field and overall sharpness in car cinematography. Particularly, when dealing with high speeds and dynamic action. Shane Hurlbut approaches f-stop selection, focusing on balancing creative intent with practical considerations.
SPHERICAL LENS F-STOP
Whether shooting day or night, Shane generally prefers an f-stop around f/2.8 or f/4 when using spherical lenses. This provides a good balance between sharpness and depth of field, allowing him to keep the cars in focus while still creating a sense of separation from the background.
At night, the reduced light levels can make focusing more challenging. To compensate, Shane leverages the dual ISO capabilities of modern cameras, often cranking it up to 3200 ISO. This allows him to maintain a manageable f-stop without sacrificing image quality.
Why not shoot wide open at f/1.3 or f/2? While a shallow depth of field can be aesthetically pleasing, it can also be detrimental to fast-paced action sequences. With such a narrow focal plane, it becomes extremely difficult to keep the cars in focus. This is especially the case when they’re traveling at high speeds or when the camera is zooming in for close-ups. This can result in a distracting and confusing image where the audience struggles to see what’s in focus.
Furthermore, a shallow depth of field can limit the viewer’s ability to see the surrounding environment and perceive the full extent of the action. Shane emphasizes the importance of showing what’s coming behind the vehicle. It allows the audience to identify the peril and understand the spatial relationships between the cars. Shooting with a wider aperture like f/2.8 or f/4 provides enough depth of field to keep both the car and its surroundings in focus, enhancing the viewer’s understanding of the scene.
ANAMORPHIC LENS F-STOP
The same logic applies when using anamorphic lenses. Shane typically opts for an f-stop around f/5.6. Why? Because it provides a slightly deeper depth of field compared to wider apertures. This allows him to maintain focus on the cars while still capturing the characteristic shallow depth of field and oval bokeh associated with the anamorphic format.
By carefully considering the f-stop in relation to the lens, lighting conditions, and desired aesthetic, Shane ensures that his car chase sequences are both visually stunning and narratively clear.
FILMOTECHNIC CAMERA CAR MASTERCLASS
Ready to master the art of car-to-car cinematography? The Filmotechnic Camera Car Masterclass with Shane Hurlbut, ASC, provides an in-depth exploration of lens choices, camera settings, and shooting techniques. Go beyond the basics and discover how to utilize anamorphic lenses, long lenses, and more to create unforgettable action sequences.
Enroll now and elevate your filmmaking skills.