From FXRant:
A strong, conspicuous visual motif of Christopher Nolan's "The Dark Knight" is the bold use of converging lines of perspective.
Nolan and his cinematographer Wally Pfister photographed "The Dark Knight" much like they did for its predecessor "Batman Begins," with anamorphic lenses. This time around, however, certain sequences were shot entirely with superwide lenses in the 65mm Imax format. Given that Nolan photographs and edits his films with a classic style (allowing the actors to move about the frame in wide and medium shots, and only going in for tight closeups when absolutely necessary), these wide angle shots give the film its distinctive feel, separating the movie from its louder, messier peers.
A strong, conspicuous visual motif of Christopher Nolan's "The Dark Knight" is the bold use of converging lines of perspective.
Nolan and his cinematographer Wally Pfister photographed "The Dark Knight" much like they did for its predecessor "Batman Begins," with anamorphic lenses. This time around, however, certain sequences were shot entirely with superwide lenses in the 65mm Imax format. Given that Nolan photographs and edits his films with a classic style (allowing the actors to move about the frame in wide and medium shots, and only going in for tight closeups when absolutely necessary), these wide angle shots give the film its distinctive feel, separating the movie from its louder, messier peers.
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