The Cinematic Look: A Guide to Unlocking Cinematic Visuals

by | Sep 26, 2023

The Cinematic Look

When we settle in to watch a movie, we’re transported into captivating worlds where every frame is a work of art. This immersive experience is made possible by the cinematic look, a carefully crafted visual style that sets films apart from everyday reality. In this blog post, I want to take a deeper look into the essential aspects of achieving the cinematic look and why it’s so crucial for filmmakers. Through specific examples from cinematic works, hopefully we can unveil the secrets behind creating that elusive and mesmerizing cinematic look.

Screen shot from Asteroid City directed by Wes Anderson. - Intentional composition is key to the cinematic look.
Shot from Asteroid city directed by Wes Anderson with cinematographer Robert D. Yeoman. Shot with 2.39 Zeiss Master anamorphic lens on 35mm film.

Exploring the Cinematic Look

At its core, the cinematic look encompasses a synergy of elements that make a film’s visuals truly exceptional. These elements include aspect ratios, lighting, composition, color grading, camera movement, and more.

Aspect Ratios: Shaping the Canvas

One of the most noticeable characteristics of the cinematic look is the aspect ratio—a fundamental element that defines the visual scope of a film. Different aspect ratios evoke various emotions and aesthetics, each contributing to the cinematic look in its own way.

For instance, consider Quentin Tarantino’s “The Hateful Eight.” The film’s choice of the ultra-wide 2.76:1 aspect ratio enhances its cinematic grandeur, allowing for sweeping landscapes that amplify the isolation of characters in the vast Wyoming wilderness.

Screen shot from the Hateful Eight demonstrating the 2.76:1 aspect ratio. - Wide aspect ratios are fundamentally associated with the "Cinematic Look".
The premium version of The Hateful Eight, which was shot in Ultra Panavision (allowing for 2.76:1 aspect ratio) and meant to be seen in 70mm. Directed by Quentin Tarantino.

On the other hand, Wes Anderson’s “The Grand Budapest Hotel” employs the 1.85:1 aspect ratio to create beautifully balanced compositions that perfectly complement the film’s quirky and symmetrical visual style.

Medium shot screen grab from the Grand Budapest Hotel - directed by Wes Anderson.
Medium shot from The Grand Budapest Hotel – Directed by Wes Anderson, cinematography by Robert D. Yeoman. 35mm Film 1.85 aspect ratio shot on Arricam ST with Cooke S4/i and Cooke Varotal Lenses.

Lighting: Crafting with Light

Lighting is a cornerstone in the creation of the cinematic look. It’s the art of sculpting light and shadow to imbue scenes with depth and atmosphere, elevating them to cinematic excellence.

Take, for example, the iconic opening sequence of “Blade Runner,” impeccably shot by Jordan Cronenweth. Neon lights and rain-soaked streets cast a dystopian, futuristic ambiance. The interplay of light and shadow enhances the sense of mystery and intrigue.

Screen shot of Blade Runner as we first meet Rick Deckard. Great use of mixed lighting.
The neon lights of the dystopian future as created by director Ridley Scott and cinematographer Jordan Cronenweth. Colors are cool, saturated, Cyans and Blues. Shot on Panavision Panaflex and Gold / G2 with Panavision Super Speed Zeiss MKII lens.

In stark contrast, Steven Spielberg’s “E.T. the Extra-Terrestrial” employs soft, warm lighting to evoke a feeling of wonder and comfort. The gentle, diffused light in scenes with E.T. and Elliott amplifies the film’s emotional impact.

The warmth of the lighting in E.T the Extra-Terrestrial directed by Steven Spielberg.
Warm saturated reds, oranges, and yellows evoke the childlike sense of wonder in E.T. the Extra-Terrestrial directed by Steven Spielberg with cinematography by Allen Daviau. 1.85 Aspect ratio on spherical lens (Panavision Super Speed Zeiss).

Composition: Framing the Story – Key to the Cinematic Look

Composition, the art of framing shots, is paramount in enhancing storytelling and visual impact. Specific composition techniques are indispensable in creating the cinematic look.

Alfred Hitchcock’s “Vertigo” showcases the power of composition through the use of the “Vertigo effect” shot, also known as the dolly zoom. This technique creates a surreal and disorienting sensation that mirrors the protagonist’s experience.

An example of the Dolly Zoom used in the movie Vertigo.
Example of the use of the dolly zoom technique in Vertigo directed by Alfred Hitchcock with cinematography by Robert Burks. Shot on 35mm film with Vista Vision. 1.85 aspect ratio

Conversely, Akira Kurosawa’s “Seven Samurai” employs deep focus and layered composition to capture the grandeur of the samurai defending a village against bandits. Each frame is meticulously composed to convey both the characters’ relationships and the vastness of the landscape.

Screen shot from 1954's Seven Samurai directed by Akira Kurosawa.
High angle establishing shot in Seven Samurai. Preparing to defend the village. Directed by Akira Kurosawa cinematography by Asakazu Nakai. 1.33 aspect ration on spherical lens, 35mm film. – 1954

Color Grading: Setting the Mood

Color grading is a critical aspect of the cinematic look. It involves post-production adjustments to colors and tones, shaping the mood and atmosphere of a film.

In “The Matrix,” the iconic green color grading underscores the film’s dystopian, cyberpunk world. This choice defines the film’s aesthetic and symbolizes the digital realm.

Screen shot from Matrix with the iconic green tones. In the Matrix the green tones become a signature of the Cinematic Look.
The signature green tones that accent the dystopian context of the Matrix directed by the Wachowski sisters cinematography by Bill Pope. 2.39 Aspect Ratio on spherical lenses (Panavision Primo Primes). – 1999
The Matrix color gradient.
The color gradient for this scene in the Matrix.

In contrast, “The Grand Budapest Hotel” embraces a vibrant and pastel color palette that aligns perfectly with the film’s whimsical and nostalgic tone.

Example of the whimsical color tones utilized in the Grand Budapest Hotel. Color as a key component of the Cinematic look.
The whimsical color tones of the Grand Budapest Hotel directed by Wes Anderson cinematography by Robert D Yeoman. This film utilizes 3 different aspect ratios, this is 1.78 – spherical on 35mm film. – 2014
An example of the color gradient pallete used in the Grand Budapest Hotel.
An example of the color gradient pallete used in the Grand Budapest Hotel.

Color became a key in my own story telling for my recent short “Colors of Love”. We used color grading to help tell the story. From the stark muted colors and blues and green in a hospital to the more vibrant colors of the outdoors. Read more about “Colors of Love“.

Camera Movement: Dynamic Storytelling

The way a camera moves significantly impacts the cinematic look. Whether it’s a steady tracking shot or a handheld camera, movement adds dynamism and emotion to a film.

In “Children of Men,” director Alfonso Cuarón uses long, unbroken takes to create a sense of urgency and realism. The film’s famous car ambush scene, shot in a single continuous take, immerses the audience in the chaos and danger of the depicted world.

The long unbroken take puts the audience in the middle of the scene and accentuates the chaos and danger of the moment.

In contrast, the deliberate and controlled camera movements in Stanley Kubrick’s “The Shining” contribute to the film’s eerie and unsettling atmosphere. The tracking shots through the hotel’s hallways are particularly memorable.

The unsettling long tracking shots in the hallways from The Shining.

Why the Cinematic Look Matters

You might wonder why achieving the cinematic look is essential in filmmaking. The cinematic look serves several crucial purposes:

  • Enhanced Visual Storytelling: It immerses the audience in the film’s world, conveying emotions and themes visually.
  • Aesthetic Excellence: It elevates films to visual masterpieces, leaving a lasting impression on viewers.
  • Defining Genre and Tone: It sets the mood and tone, defining the genre of the film, whether it’s a gritty noir or a whimsical comedy.
  • Artistic Expression: Filmmakers use the cinematic look to express their artistic vision and create a signature style.

In Conclusion of the Cinematic Look Overview

The cinematic look encompasses a synergy of elements such as aspect ratios, lighting, composition, color grading, and camera movement. As we’ve explored through examples from cinematic works, each of these elements contributes to the unique visual language of a film. In the upcoming blog posts, we’ll delve deeper into each component, providing practical insights and tips to help you unlock the cinematic look in your own filmmaking journey. Stay tuned for more in-depth discussions and actionable advice! If you would like some more technical concepts to develop a more cinematic look, check out this article by Make Use Of.

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