How a DP controls its movement, zoom, exposure, pacing, height, framing all of these things affect how cohesive a scene or film feels. The camera has a voice - this is fundamental cinematography knowledge. These differences in framing relative to the zoom and camera position add more depth to the scene. Expanding one more time on multiple-compositions-in-a-single-take, Soderbergh isn’t afraid to move from what would usually be an insert shot to a medium scene setter to a tight portrait, all in one take with pans in between. This is cool, maintains the visual language of the film with lots of pans, and also continues the practice of scene-setters that are more an actual part of the scene than just lame insert shots.ġ2.
Sometimes a scene would open with a Glidecam shot following someone walking and switch to tracking another person when they entered the frame. Building on the last point, these “long takes” with multiple compositions don’t always follow the same character or subject. It’s different from most movies, and I like it a lot.ġ1. Combined with the zooms mentioned in the last observation, these things come together to really just make their own language. It helps the audience understand the blocking / relativity of actors to the details also being shown in the scene. Keeping these pans in, even when they’re fast and the set is blurred, gives the scene some room to breathe. Besides the few long-takes I mentioned above, Ocean’s Eleven contains a lot of shorter “oners” (I put that in quotes because it’s not really a oner) that are anywhere from 3-5 different compositions in the same clip, with pans and zooms in between. Here’s everything I learned about cinematography from rewatching Ocean’s Eleven.ġ0. I can’t begin to tell you how much I love this movie, simply because it’s fun. Instead of showing off the glitz and glamour of the strip, we spend most of our time in hotel rooms, hallways, secret gambling rooms, air ducts, and vaults.
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It’s funny because it’s a Vegas movie that doesn’t really feel like a Vegas movie in most ways. It’ll never make a list of the Top 100 Most Beautiful Movies Ever Made. Overall, the cinematography of this movie is generally unremarkable and that’s kind of why I like it. I was curious to observe how the same person taking on both roles played into the production of the movie. Not only did the dude direct the movie which is a mission in and of itself, he also DPed it. One of the biggest reasons this movie (that I’ve admittedly seen countless, countless times before) made the Cinema25 Cut was because Director Steven Soderbergh is also the Director of Photography (DP). I’m a gigantic fan of heist movies to begin with ( Inside Man being another favourite), but this one takes the cake as a phenomenal showcase of talent and entertainment. It has it all: a massive star-studded cast, romance, comedy, humour, cleverness, flash, fast-pace, and keeping the viewer hooked til the very end. Hands-down one of my favourite movies of all time.
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