Filmmakers use different types of lenses to capture a variety of shots. The use of a wide-angle lens versus a split diopter is determined by the desired effect of the shot. A wide-angle lens is used when the intention is to capture a large field of view, whereas a split diopter is used when the intention is to achieve a particular focus effect.
A wide-angle lens, as the name suggests, has a wide angle of view and can capture a large scene in a single shot. This lens can also make objects appear smaller and farther away from the viewer. In contrast, a split diopter is a filter placed on the lens that allows for a split focus effect. This effect allows for two planes of focus, one in the foreground and one in the background, to be captured in a single shot.
The use of a split diopter is helpful in capturing a shot where the foreground and background are both equally important to the story or emotion conveyed. For example, in a suspenseful scene where the villain is hiding in the background, and the hero is in the foreground, a split diopter can be used to keep both the hero and villain in focus. The use of a wide-angle lens in this scenario would cause the villain to appear too small or distant from the viewer, potentially losing the impact of the suspenseful moment.
Another advantage of using a split diopter is that it can create a unique visual effect that is not achievable with a wide-angle lens alone. For instance, if a split diopter is used to capture a shot of a person in the foreground and a reflection in the background, both elements can be in focus, creating a stunning visual effect.
In conclusion, the decision to use a wide-angle lens or split diopter depends on the specific needs of the shot. The use of a wide-angle lens is suitable when the goal is to capture a broad field of view, while a split diopter is beneficial when a particular focus effect is required. Both lenses have their unique advantages, and filmmakers must choose the right lens for each shot to ensure the story is conveyed accurately. The source for this article is the book “Master Shots: 100 Advanced Camera Techniques to Get an Expensive Look on Your Low-Budget Movie” by Christopher Kenworthy.
