If you had to choose one focal length what would it be? (just for fun)

[Karim D. Ghantous]

This is a difficult question - more difficult than actually working! Based on 8-perf 35mm, I would probably choose 50mm (~35mm for S35), even though 35mm or 40mm are probably more useful overall. 50mm suits portraiture more, making it a better choice for photography. 35mm is a bit more flexible and many photographers consider it the perfect 'standard' lens.

Maybe for cinema, the slightly wider lens, like 25mm on S35, is more useful - even when doing close-ups (but not extreme ones). It works really well for upper-body close-ups, because you have the sense of immediacy (I'm thinking of the opening shot in Pulp Fiction, which was probably done with a 25mm, or some shots in Downton Abbey). And it lets you do medium shots without having to move too far back. Also, you get more DOF without needing to stop down as much.

But I don't think that I could work with just one lens. Perhaps I could shoot any script with just two lenses - an 18mm and a 35mm (S35). For photography, though, I want 8-perf focal lengths from 28mm all the way to 200mm (~18-135mm in S35).

 

[Jake Wilganowski]

50mm at 6k is amazing, f2

 

[Marcus Friedlander]

At 6k, the 35mm is my go to focal length, especially if the camera is moving.

When we are shooting intense dramatic scenes, I don't have to break the actors out of their rhythm to change my framing, because I can change from a medium-wide to a close-up with a minor physical adjustment from the operator. (And the directors I've worked with absolutely love having that freedom and flexibility.)

In my opinion, when shooting narrative content, at the end of the day, focal length selection, like so many other decisions, is all about maximizing the performances of the actors.

 

[Erich Roland]

oops

 

[Erich Roland]

40mm is about the right lens for me on average. That's the challenge, how wide a lens are you OK.... to get a close up with. Then you just gotta get back further to take in the scene.

All depends on the content. One film might be funnier with everything at a 24mm, and another more introspective film all shot with a 85mm.

 

[Peter Majtan]

If I could have only one for the rest of my life - it would be the 800mm second gen EF-L. That lens was made for me... ;o)

:reddevil: P

 

[Marcus Friedlander]

All depends on the content. One film might be funnier with everything at a 24mm, and another more introspective film all shot with a 85mm.

Great point.

 

[Visar Sulejmani]

personally, the one that I keep going back to, on a FF 35mm Sensor, is the 35mm lens. It's my personal favorite when it comes to the field of view.
Currently as the Sigma Art 35/1,4.

 

[Elsie N]

Personally, I hate lens changes during critical shots so I gotta have zoom. For instance but not limited to: 16-35 or 28-300 Nikkor G used as variable prime.

 

[Hugh Scully]

35 mm. It matches what the world looks like outside the frame to me for depth and size

 

[Neil Dearman]

35mm is the most common lens ask from the DP when i am on set, also the 28mm too