0 · True POV
The lens is their eyes. Hands and body in frame.
True POV
0
Hands and body in frame. Our most intimate level, saved for the moments that count.
AMA · Trust Campaign
Director's approach
Not a dizzying world of POV, but never fully leaving it. Four levels of immersion, one visual language the campaign can own.
Leo Zuckerman — Director
Skin and Bones
The scale
The lens is their eyes. Hands and body in frame.
Talent looks to lens. We're inside someone else's POV.
Wide lens. Camera moves like a person.
Just the lens. Same signature, room to breathe.
True POV
Hands and body in frame. Our most intimate level, saved for the moments that count.
Eye contact
No limbs needed. A look to lens puts the audience inside another character's eyes.
Wide + human motion
No body, no eyeline, but someone is clearly in the room.
Wide lens only
The same optical signature. Room for the edit to breathe.
Mole · GLP-1
Ref — La Haine, Mathieu Kassovitz, 1995
Start behind them.
The reflection meets the lens.
Two levels in one shot. No camera in the glass.
Built in-house
Lens at eye level. Both hands free to act.
On locationWhy it fits
Eyes and movement carry the story.
From the :30 down to the :06.
Lenses and blocking, not builds.
Leo Zuckerman — Director · Skin and Bones