Michael Fassbender in The Killer (courtesy of Netflix) The Killer begins with an murderer (Michael Fassbender) in a half-completed WeWork workplace awaiting the arrival of his newest goal. As he waits, he particulars his vocational mantras for the viewers in voiceover: keep on with the plan. Don’t improvise. Never yield a bonus. Forbid empathy. Fassbender proceeds to overlook his shot and spends the remainder of the movie breaking each a kind of tenets within the chaotic aftermath.
Many of the items written concerning the movie have identified perceived similarities between the movie’s methodical, detail-oriented titular character and the perfectionist popularity of its director, David Fincher. However, what makes Fincher’s method to filmmaking so fascinating is the best way it combines the fluid with the obsessively regimented. For The Killer, the phantasm of handheld camerawork, anamorphic lens traits and glass filters have been all created in publish, the place they may very well be minutely modulated. Conversely, Fincher usually prefers to design protection on the day after blocking rehearsals and is open to the spontaneous comedic potentialities of the cheese grater.
On Fincher’s Mindhunter, Mank and now The Killer, cinematographer Erik Messerschmidt has been the director’s companion in that duality. The Oscar-winning DP graced this column for a fifth time to debate his newest work.
Filmmaker: After you first learn the script for The Killer, you referred to as David Fincher up since you weren’t positive what to make of the tone. That draft didn’t have as a lot of the voiceover in it. Did it learn as humorous in any respect?
Messerschmidt: No. So a lot of that’s in Michael’s efficiency and David’s humorousness. That wasn’t actually in that draft. It was way more methodical. Also, quite a lot of the funnier moments that don’t come from the voiceover—like when Michael [blindly searches a kitchen drawer for a weapon and comes out with] a cheese grater—weren’t scripted. Michael simply reached in there and that’s what he pulled out. That was only a serendipitous factor.
Filmmaker: When did you understand how humorous the film was going to be?
Messerschmidt: I wouldn’t say that there was a lot levity within the capturing. So a lot of [the humor] is from the comedian timing of the voiceover and the crew was not listening to any of the voiceover whereas we have been capturing. If you watch the film with the hold forth, it’s a totally completely different expertise. (laughs)
Filmmaker: If you probably did that, the one clue to the humor would most likely be the photographs of Fassbender’s TV character aliases on his boarding passes, rental automotive agreements.
Messerschmidt: Which was an afterthought, by the best way.
Filmmaker: Really?
Messerschmidt: Yeah, we did these as reshoots. The aliases have been within the script, however then David and [screenwriter] Andy Walker mentioned, “That’s actually pretty funny.” So, we went again and shot all of the inserts of the tickets and all the pieces.
Filmmaker: So, throughout the primary shoot you had, for instance, the rental automotive counter individual says, “Thank you, Mr. Bunker,” however you didn’t have the insert shot of the rental automotive settlement with the identify on it.
Messerschmidt: Yeah, precisely. It wasn’t a repetitive sort of thought till the modifying course of the place David was like, “Okay, we’re going to shoot tickets.” And I used to be like, “Really, we’re going to shoot tickets? Only three people are going to get this joke, David.” And he’s like, “No, no, we think it’s funny.” And, after all, now it’s an enormous factor. How flawed was I?
Filmmaker: Where did you shoot the pickups?
Messerschmidt: In L.A. We constructed a countertop or no matter we would have liked for every one. Sometimes on David’s motion pictures you do two or three days on the finish the place you shoot all of the inserts.
Filmmaker: I believe the funniest one is the identify on the financial institution type towards the top. At that time we’ve seen all of the aliases, in order he’s signing the viewers knowns it’s going to be a humorous reveal. You’re simply ready for him to drag his hand away from the doc so you possibly can see what identify he’s used.
Messerschmidt: That one was an insert too. I believe the one one we shot for actual is the driving force’s license in Chicago when he will get off the prepare and rents the automotive. That one we did [during principal photography].
Filmmaker: You used Red’s new V-Raptor on The Killer. You beta-tested the digicam whereas it was nonetheless in growth?
Messerschmidt: They despatched me a digicam physique earlier than it was formally launched. David and I have been scouting for the transfer in New Orleans when it arrived. So, we threw a lens on and simply began capturing across the metropolis, seeing what it may do. After the scout, I did some extra checks—lighting checks, dynamic vary checks, colour sensitivity checks—after which we graded them. It wasn’t actually formal, to be trustworthy, extra simply sort of messing a few bit. But I positively obtained my palms on the digicam fairly early.
For me, there’s a common sort of opinion or idea that has been propagated, this concept that the digicam has one thing to do with the last word visible aesthetic of the film, as if the digicam is a movie inventory. I don’t actually imagine that. The digicam has a component to play within the picture making course of, however it’s akin to a hammer, a tennis racket or a guitar. All guitars have, to a point, their very own sound, however we don’t conflate the sound of Led Zeppelin with the Les Paul. We conflate the sound of Led Zeppelin with Jimmy Page.
Filmmaker: But isn’t the distinction within the colour science from digicam to digicam just like how a Fuji inventory may look completely different than a Kodak inventory? If you place the identical lens on two completely different digital cameras, you gained’t get the identical picture.
Messerschmidt: True, however that’s simply the preliminary means that the colour science and the debayer processing is dealt with when it comes to what instantly comes out of the digicam. The actuality is I really feel fairly assured that I can get [the same image out of multiple different cameras]. It’s sort of humorous, as a result of we speak about movie on a regular basis in a extremely nostalgic means, however for many of Kodak’s expertise, the discharge of latest shares was perpetually within the service of tighter grain, decrease noise, increased pace. We’re on the lookout for the identical factor with [digital] cameras after which we return and attempt to screw all of them up. [laughs]
The means the digicam appears will not be actually why I select to shoot Red. It’s extra that I like the shape issue. I like the place it sits when it comes to its dynamic vary capabilities. I like how I can simply manipulate colour temperature and distinction with out constructing elaborate LUTs. I just like the idea of oversampling. I like the flexibility to shoot with Super 35 lenses or massive format lenses. I can shoot the digicam in 9×16 mode. That digicam is tremendous versatile for me in a means that some cameras aren’t. Those are the issues that entice me. It’s not that I am going with the Red digicam as a result of I like the best way it appears, although I do prefer it very a lot.
Filmmaker: Right, however when there’s a brand new model of a digicam, it’s going to have sure enhancements over the earlier mannequin. Maybe it has one other cease of dynamic vary or it’s rather less noisy within the shadows at increased ISOs. Were there stuff you have been enthusiastic about with the Raptor?
Messerschmidt: Absolutely. For instance, all of the earlier iterations of the cameras that Red had been making had interchangeable low-pass filters [OLPFs]. You may choose completely different low-pass filters and I by no means actually preferred that. I all the time shot with the pores and skin tone OLPF no matter what my capturing circumstances have been. Then when the Komodo got here out, Red principally locked one OLPF in entrance of the sensor. That was very profitable for Red, I believe, when it comes to dynamic vary and spectral sensitivity and colour copy, issues like that. They did the identical factor with the Raptor and, abruptly, we had two distinctly completely different digicam our bodies with virtually similar colour science and that was an enormous enchancment. It helps with the processing, it helps with matching and all that stuff.
Filmmaker: Did you utilize the Leica Summilux lenses once more?
Messerschmidt: I did.
Filmmaker: You’ve used these for all of the Fincher initiatives we’ve spoken about. Those lenses are roughly ten years outdated now. When you’re employed with Fincher, do you continue to check lenses and people maintain successful or do you simply default to them?
Messerschmidt: For The Killer we examined the Leicas, as a result of we have been doing a number of publish destabilization. So, we wished to see, for instance, if we shot in 7K, the place the picture circle stops overlaying and the way a lot overscan we are able to use so we are able to screw the picture up. We examined them like that, however I didn’t check them for traits. I do know them fairly effectively now. On Mank, we did quite a lot of lens testing and the Leicas finally gained. I believe there’s a little bit of consolation [with them]. I don’t actually just like the lens dialog both, to be trustworthy. It’s virtually insulting to cinematographers [to reduce their work to] “What camera did you shoot? What lenses did you shoot?” That recipe will get revealed, and other people assume that the best way to get stuff to seem like Greig Fraser’s work is to shoot the lenses and the digicam that Greig Fraser shoots. The actuality is there’s all this talent behind it that no one talks about.
Filmmaker: Yes, however they’re nonetheless vital instruments. If this was a narrative about carpentry, I might be fascinated about, you already know, the sort of wooden you picked and why. I perceive what you’re saying—the explanation your work appears so good isn’t only a system of digicam and lens bundle. But you do select these instruments for particular causes. It’s not arbitrary, and I discover these causes attention-grabbing.
Messerschmidt: You’re proper, however they’re like a set of irons in a golf bag, in a means. It’s like, “How far away are we from the pin? Alright, cool. We’ll use this lens.” I’ve tried getting lenses with a number of character and that may be attention-grabbing, however it doesn’t excite me. I truly discover it extra irritating than anything, as a result of then it adjustments the sort of lighting I’ve to do. It adjustments the forms of photographs we are able to accomplish. If you shoot anamorphic, for instance, or a lens with quite a lot of character, generally it adjustments your composition. It could be like, “Well, the lens doesn’t resolve on this side of the frame” Or possibly if you happen to don’t need all kinds of loopy artifacts on a sure lens you need to shoot it at a T4. Or possibly one lens within the set may carry out advantageous at a 2.8, however one lens tighter and it is advisable to go to a 4.5. Now I’ve to gentle to completely different exposures and use quite a lot of ND. I simply don’t actually like working that means a lot. I like a set of lenses the place the 29mm comes out of the field and it’s the identical dimension because the 40mm and it simply goes straight on the digicam and now we’ve got a tighter shot. I don’t have to vary my lighting. I understand how the flare traits are going to be affected by backlighting. I do know what my decision goes to be on each lens. I do know that it’s fairly constant. Those issues are actually comforting for somebody who’s fully full of hysteria on a regular basis like I’m. [laughs]
Filmmaker: Let’s circle again to the way you created a handheld look by destabilizing the footage in publish.
Messerschmidt: David initially mentioned, “What if we do the whole movie handheld?” But there’s a sensible consideration to that, which is that the digicam goes to be on the operator’s shoulder for 10 hours a day The means David shoots, we’ve got possibly 30 or 40 seconds between takes and we’re rolling once more. It’s not the kind of factor the place we shoot one or two takes, then go to the subsequent shot. The means that we work, I simply didn’t assume it was sensible, truthfully, and finally, he agreed. So, then David mentioned, “Well, maybe the whole movie isn’t handheld. Maybe there are scenes that are handheld, and we do this thing where we tie the camera movement and the scene structure to the character’s point of view, his mental state.” I assumed that was an attention-grabbing thought. So, David mentioned, “Go through the script and mark off the scenes you think should be handheld and the ones that you think should be static and I’ll do the same.” The two lists have been virtually similar. So, that’s what we ended up doing.
I shot some handheld checks in opposition to, like, a lens grid or a chart—I can’t keep in mind precisely what it was. I did some regular ones, then I’d have a pair photographs of espresso and do some [less steady] ones. Then I shot some static photographs, and we despatched them to publish, and so they principally mapped my digicam shake onto the (static) photographs. It truly grew to become actually thrilling as a result of it was like, “Oh, now we can art direct the handheld. We can make this really shaky, then we can stop it, then it can be really shaky again. We can put a bump with a sound effect, or we can take a bump out.” That grew to become actually seductive. I might say most likely 90 % of the hand held within the film was performed on a fluid head. We did have a Ronin there, however we didn’t use it like a gimbal [with an operator holding it by the handles and moving]. I used it extra like a distant head, notably in locations the place it’s simply not sensible to place an operator. There are some photographs—like when Michael is working alongside the aspect of the home within the Dominican Republic—which are truly handheld photographs. There’s some within the struggle [in Florida] as effectively, however not many.
Filmmaker: It would’ve been much less controllable than the method you finally took of destabilizing in publish, however did you take a look at utilizing the hand held mode on the Oculus head?
Messerschmidt: For that you just principally put the management of the Oculus on the operator’s shoulder. So, you possibly can put the Oculus on a Technocrane after which the operator [has a handheld device that they move around to control the camera]. We checked out that and David finally mentioned, “I can do this in post and decide exactly how much shake I want.” With [real handheld], controlling [the level of shake] is usually a drawback, particularly in a posh scene like a struggle scene that shoots for a number of days. The persona of the operator finally ends up coming into the shot and it’s tough to attenuate the quantity of shake from shot to shot. In that Florida struggle scene, there is perhaps 60 photographs. Fatigue is an element and physique place is an element. Those issues find yourself translating to the shot and you may have quite a lot of virtually schizophrenic working within the course of, as a result of shot 5 of the day goes to be barely completely different from shot 25 of the day simply by nature of [the operator] being a human being. So, we wished to have the ability to actually management the arc of how a lot the digicam strikes in a scene—which can be a bit bit obsessive, however I believe it’s definitely attention-grabbing.
Filmmaker: Since we’re speaking about changes made in publish, inform me about this digital filter emulator you used on The Killer referred to as Scatter.
Messerschmidt: David mentioned to me that he wished the Dominican Republic [portion of the film] to look humid. So, I thought of diffusion. I don’t typically like to make use of very a lot diffusion. I discover it to be tough to manage. I like to make use of quite a lot of comfortable backlight and that lighting approach is simply not likely conducive to filtration, as a result of the filters choose up veiling flare so simply. I used to be speaking to my good friend Mark Doering-Powell, who’s a cinematographer, and explaining the issue and he mentioned, “You should look at the Scatter plugin [for DaVinci Resolve].” The colorists I work with virtually all work in Baselight. So, I assumed, “That’s not going to go over very well with the colorist, if they have to work in Resolve.”
I informed David about it and mentioned, “This is interesting. I want to shoot a test.” So, I shot the check, and we thought it was nice as a result of you possibly can truly go in and say, “I want to see what a 1/8 Hollywood Black Magic looks like on this shot.” It’s pretty convincing. You can actually handle it. You can management how a lot of the highlights you need halated. You could be actually particular in methods which you could’t with glass filtration. The different factor you are able to do is vital body it and make it dynamic. So, if I’m trying towards a shiny window and I solely need 1/4 or 1/8, after which we’re going to pan into aspect gentle the place I might need heavier diffusion, I can truly dynamically change the extent of diffusion in the course of the shot. The plan initially was solely to make use of it within the Dominican Republic scenes, however finally we used it in Chicago as effectively, the place we wished it to really feel chilly, like there was that sort of chilly humidity bleeding by the home windows. I actually loved it, however it meant the colorist needed to grade the entire film in Baselight after which re-render it once more by Resolve on the finish with the Scatter go. So, it was sort of a double course of, however the colorist didn’t complain about it.
Filmmaker: Let’s return to the start of The Killer, which opens with Fassbender in an under-construction WeWork workplace in Paris ready for his newest goal to reach at a resort room throughout the road. To shoot this, you probably did the WeWork interiors on stage after which the view out the window is plates you shot in Paris—apart from the goal’s flooring of the resort, which you shot in an outdated mill after which comped into the plates. Tell me extra about that mill. Was {that a} constructing that had already been transformed for manufacturing functions or was it actually a disused mill that occurred to be massive sufficient to accommodate your wants?
Messerschmidt: It was a modified warehouse that now features as a movie studio.
Filmmaker: So, you weren’t sweeping out sawdust to be able to construct your units in there.
Messerschmidt: No, we didn’t have to maneuver equipment out of the best way and shoo the goats out. [laughs] It wasn’t something like that. We simply wanted an area that had quite a lot of throw, as a result of we wished to copy the digicam distance [from Fassbender’s perch to the hotel across the street].
Filmmaker: Tell me about how the look of that WeWork house progresses by the day. [Click to expand image.]
Messerschmidt: Loads of it was pushed by the plates. Outside of these home windows are LED partitions. We shot the plates in Paris at particular instances of day and mentioned the colour palette of the town. So, all the ambient gentle that’s coming by these home windows, for probably the most half, is pushed by the colour temperature of the plate. For a few of the photographs, to be able to get the form I wished, I had to make use of synthetic gentle as effectively. I couldn’t simply use the LED partitions as a result of they have been too comfortable. So, I’d use tougher sources as effectively to push gentle by the home windows.
Filmmaker: What did you utilize for that on-camera work gentle for the evening scenes? Was that one thing off the shelf from a ironmongery store or one thing customized made?
Messerschmidt: It’s a piece gentle that the electricians modified. We put an LED in there so we may management colour temperature and brightness. I really like that sort of burnt yellow look, clearly. [laughs] I may get that colour fairly simply by placing the digicam at like 3800 Kelvin, then bringing in that gentle at 3000 Kelvin and pulling the crimson out of the picture.
Filmmaker: Some of the humor within the movie comes from Fassbender’s hitman being the antithesis of the classically cool cinematic murderer. When he has to flee that opening hit, he does so on a bit scooter. Tell me about capturing that sequence.
Messerschmidt: We didn’t wish to get right into a factor the place we have been placing the scooter on a platform and dragging Michael across the streets. It simply didn’t actually appear sensible. There have been photographs the place we rigged the digicam to the scooter [and drove it through the city], however we additionally constructed a plate car that had a bunch of cameras on it. For issues like close-ups, we shot clear plates after which shot parts for that on the stage. For a few of the wider photographs of Michael that we ended up needing however didn’t have, we finally used a digital double. [The VFX vendor] had already scanned him and the bike, in order that was sort of an apparent alternative. I used to be a bit skeptical of it, truly, however David was very assured, and it ended up working advantageous.
Filmmaker: Was it laborious to seek out streetlights in Paris with that heat sodium vapor look?
Messerschmidt: We didn’t wish to do a factor the place we put up huge condors and simply backlit all the pieces. I wished the streetlights to do a lot of the lighting. The streetlights in that part of Paris are that colour, however the issue was they’re not the identical colour. Some of the bulbs are older than others and a few of the lamps have been burned out. It truly took quite a lot of work on our half, and actually [the locations department’s] half, with the town of Paris to get them to agree to vary the sunshine bulbs. There’s forms in Paris, similar to wherever, however that’s finally how we did it. We did do some lighting within the distance and on a few of the buildings, however it’s all motivated from the streetlights.
Filmmaker: I’m on this stability you’re placing within the movie when expressing the drudgery of Fassbender’s job. Some scenes unfold in drab places like a Marriott, a Starbucks or a Hertz, however there are additionally instances while you make seemingly mundane places look very placing. I’m considering of issues just like the gasoline station, the automotive wash, the financial institution of airport telephones and the on line casino parking zone.
Messerschmidt: David is all the time like, “Don’t be afraid of the banal. Lean into it.” We’re by no means actually on the lookout for magnificence. It has to serve the story and serve the tone. I can by no means add one thing into the set that doesn’t exist already and be proud of it. If I’m in a prime lit workplace and attempt to make it seem like one thing aside from a prime lit workplace, I’m all the time dissatisfied. It doesn’t look actual. It’s not attention-grabbing. It appears pressured. I discover it’s extra about embracing what’s already occurring. Like the shot on the airport the place Michael is on the cellphone [and a row of airport windows are reflected in the phone booth’s glass]—that reflection was fully unintended. We added these cellphone sales space pods to the actual Air France lounge the place we shot and we have been like lining it up with a finder and I mentioned, “David, look at this reflection! This is amazing.” And the colour temperature [contrast] was apparent. We had this blue window, so I may put in all this heat prime gentle and get a cut up tone factor. That ended up being sort of the look of the film, this cool cyan and yellow/inexperienced cut up tone.
That shot you talked about within the on line casino parking zone was the identical factor. David was like, “You’re going to love this location. You’re not going to have to light anything.” And then we lined up the shot and the place he wished to place the characters’ truck was completely black. (laughs) We tried shifting the digicam over, however then we couldn’t see the constructing. So, I mentioned, “What if I put some lights on the roof and then you paint CG signs over them?” And David mentioned, “What if they’re like a Hard Rock Café stripper girls things?” And I mentioned, “Great, then we can animate them.” So, we obtained that impact [of the light from the sign moving] with a SkyPanel 360 doing this sort of magenta/purple colour. Then they created the check in publish to match [the moving lights of the SkyPanel].
Filmmaker: It’s been some time since I’ve seen a few of the Fincher motion pictures, however I don’t keep in mind quite a lot of purple.
Messerschmidt: Yeah, it’s a little bit of a coup, proper?
Filmmaker: Was it laborious to get that in there?
Messerschmidt: No, David was like, “I’ll give you this one.” [laughs] He will all the time make the selection that’s proper. He gained’t struggle accountable concepts in the event that they serve the shot. But he does have his aesthetic. I don’t assume I’d be round very lengthy if I wished to gentle all the pieces in crimson and pink.
Filmmaker: That on line casino shot has a fantastic moist down impact. I really like the outdated movie noirs the place the streets at evening had that look.
Messerschmidt: The moist down does a few issues. For one, it builds a lot depth into the shot. Also, concrete is definitely shiny. If it’s not moist and it’s simply lit grey concrete, it’s actually laborious to manage that publicity. The second it’s moist, it comes alive.
Filmmaker: I interviewed the special effects coordinator for Killers of the Flower Moon and he talked about how when Fincher first began capturing digitally on The Girl with the Dragon Tattoo and The Social Network, Fincher wished him to make use of a bit little bit of haze for all of the interiors simply so as to add texture to the digital picture. Is that one thing he nonetheless likes to do?
Messerschmidt: Yeah, I exploit it quite a bit. David kind of has a love/hate relationship with it. I all the time insist on it and he’s like, “No smoke!” as a result of it’s laborious to maintain it constant, however we’ve gotten fairly good at it.
Filmmaker: Let’s speak concerning the dinner scene the place Fassbender sits down with Tilda Swinton. The restaurant is filled with these little dome lights on the tables.
Messerschmidt: I discover the entire thought of the highest lit restaurant to be actually tough. They are these huge areas, and also you wish to see all of the individuals. Maybe it’s only a low cost parlor trick, however I mentioned, “Why don’t we do some sort of table lights?” David was like, “Can it not be the Goodfellas thing? I don’t want to do the Goodfellas thing.” So, manufacturing designer Don [Graham Burt] discovered these domes. We shot some checks and initially it was like, “It’s too many of them. It’s going to be a scene about the domes.” Then we determined that possibly we may use them to sort of construction the compositions.
Filmmaker: You appear to be a really meticulous individual. Are you shifting all these dome lights, you already know, an inch to the left or an inch increased to get all of them within the good spot?
Messerschmidt: Absolutely. We don’t actually cheat that stuff shot-to-shot, however we’re positively artwork directing it. This is basically the one scene within the film the place it’s mano a mano. It’s a showdown. It’s not just like the scene with the lawyer Hodges [played by Charles Parnell], the place Michael is kind of orbiting this man and there’s quite a lot of movement. Here, he’s sitting down and having a dialog throughout the desk. So, it was a possibility to be actually structured with the compositions and the dome lights grew to become a part of that.
The dome lights that Don initially discovered have been tremendous inexperienced and 6,000 Kelvin. So, we cracked them open and spent a bunch of cash altering out the inside workings with movie-friendly LEDs that wouldn’t flicker. Then, at the least, all of them matched, and lets say to the board operator, “Okay, take the back ones down a little bit,” as a result of I all the time wished the dome gentle close to Tilda to be the brightest. Most actresses you most likely wouldn’t wish to gentle from under like that, however it’s no drawback for Tilda.
Filmmaker: And by leaning in or out, she will actually management the sunshine on her face for particular moments of emphasis.
Messerschmidt: Yeah, truly she and I talked about that. She would come again and take a look at the monitor to grasp the way it was affecting the shot. She is so intelligent. She actually will get it.
Filmmaker: For the interview scenes in Mindhunter, you informed me earlier than that you just normally didn’t cross-shoot, however quite you’d do multiples sizes on the identical actor. Did you are taking an identical method for that Swinton scene?
Messerschmidt: We did some cross capturing in The Killer, however not in that scene. Mostly the explanation we didn’t cross shoot that’s as a result of we needed to cheat the seat that Tilda is sitting in out of the best way to be able to get the digicam [in the right spot] to shoot Michael, as a result of it was so near the wall. That scene took two days to shoot. It was tremendous methodical.
Filmmaker: I discover it attention-grabbing that you just and Fincher don’t do quite a lot of storyboarding and for a lot of scenes you favor to design the digicam positions on the day after a blocking rehearsal. I believe I might’ve assumed that Fincher was way more regimented in his method to protection.
Messerschmidt: I believe it’s a good suggestion to have a dialog across the forms of photographs you want and the way a lot protection you assume it is advisable to assemble the scene. There’s a spot for storyboarding, however it may well additionally actually be thoughtless for the actors. Loads of the best moments I’ve seen on set have been blocking issues that the actors deliver to the desk after you throw the scene up on its toes. Even one thing like a easy pause in a doorway for a final line [rather than the line being delivered seated at a table] may fully change the construction of the scene. Now possibly I’ve the chance to place the digicam within the doorway, or possibly trying again by the doorway so you possibly can see one other character within the background. But if you happen to’re like, “No, no, no. I storyboarded this and I’m going to shoot a closeup of you at the chair,” you’re not benefiting from all the pieces the actor brings to the desk.
