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WolfofWallStreetCinematographyThewolfofWallStreetmovieisacontroversialmotionpicturebasedonabestsellingnovelabouttheriseofaWallStreettraderJordanBelfort.LeonardoDiCaprio,whodelvesintothelifeofdrugs,women,moneylaunderingandsecuritiesfraudplaysthemaincharacter.Togetherwithhisfriends,theyareabletobuildamulti-millioncompanythatdefraudspeoplebysellingthempennystocks.WolfofWallStreetmoviemaybeclassifiedasanarrativetypeofmovieandisdirectedbyMartinScorsese.Thecinematographershottheinterestingmovieinfilmmode.Scorsesechosethisapproachashesawtheimagesshotbyhiscinematographerhavingricherskintonesandpossessingmorecolornuanceascomparedtodigitalshotsduringpreproductiontestingruns.Mostpartsofthemoviewerethereforeshotonfilm,andfornightscenes,Alexawasusedaswellasgreenscreenvisualeffects.Amajorchallengeonthefilm’sdirectorwasondecidinghowtodepictthevariousphasesofthemaincharacter’s(Belfort)life.Inconjunctionwiththefilmscinematographer,ScorsesedecidedtodifferentiatescenesofJordan’slifewhereheseemedlostoruncertainfromthesceneshewouldappeartohavefoundclarityinhislifeandsomesenseofrightcourse.Thiswassuccessfullyachievefromtheuseofdiverseoptics,colorschemes,andlightingstyles.BeingguidedbyBelfort’smentalstateandthoughts,thecinematographeralternatedbetweenvariouslensesforexamplev-lite,HawkV,V-pluslenses,amongotherstogetvariousdegreesofdepth,clarity,andperspective(Barsam&Davep.238).Moreover,toenhancethecontrast,inthedifferentmentalstates,thedirectormixedinseveraldiffusionfilters,withambientsmokebeingusedsometimesandpushingthenegative.AsRodrigoPrieto,themoviescinematographerexplains,atthestartofthefilm,ithasasofterandslightlymurkylook,asJordanhasnotyetfoundhimself.HeseemsconfusedandsomehowawestruckbythebusyWallStreet.DuringthisphaseofBelfort’scareer,thedirectorusedamorenarrowdepthoffieldtogetherwithsomeslightalterationofanamorphiclenses(Barsam&Davep.240).JordanatfirstworksatthefirmLFRothschildbeforestartinghisownbusiness.Thesetattheinvestmentfirmisdominatedbyacolorschemeofgreenandgoldlightthatimplyanoldvintagelook.Thedirectorclaimedaphotohehadseenofabrokeragefirminthe1980’sinspiredthisidea.Inmakingwideshots,thecinematographercapturedtheofficespaceusingshortrangeV-litelensesthatwereabletocurvetheframesendsabit,creatingasenseofuncertainty.ThepictureofLFRothschildisnotascrispclearastheoutlookofJordan’ssubsequentfirm,whichhadmoreofthecolorwhite.Thishelpsshowadifferentambienceandtimelineofthetwofirms.Afterthecrashof1987,LFRothschildfallsandisshutdown.Belfortloseshisjobanddesperatelysearchesforanywherehecanfindemployment.Eventually,hestartstoworkasaregularemployeeataninvestmentcenter,anoccupationhedislikes.Thissetwasonlylitthroughbigwindowsfromonesidebringingoutafeelingofsortofbeinginacave.ThispartofhislifetheideawastoshowthedeclineofBelfort’slifeandhefallsintodarkness.AftersometimeJordanestablisheshisownbrokeragefirmandgainsmassivesuccess.Whenheknowshowtomakealotofmoney,andissuccessful,thefilmhasacrisper,pristinelook.ThecinematographerchangedtosphericalMasterPrimesanddidnotusediffusionforthispart.Whenheisunderinvestigation,thedirector,andcinematographercreateasortofparanoialook.TheychangedbacktoHawkanamorphic,withlengthierfocallengthstodepictafeelingofbeinginvestigated.Insomescenes,theyalsoaddedsomesmoketomakethebackgroundfaintlymilkyandhaveashallowdepthoffield.Thecinematographerdidalsopushthefilmstockforthescenesandstoptoimprovegrainandcontrast.PrietousedanapproachaimedatvisuallydifferentiatingthethreereiterationsofBelfort’sfirmasitgrew.Itstartedoutinarenovatedautoshopthenrelocatedtoasuitableoffice,andlaterfinallymovedintoabigger,elaborateofficespace.TodifferentiatethesetsRodrigousedavarietyofcolortemperaturecombinations,applyingdifferentfiltersanddiffusion.Intheinitiallocation,theautoshopisdimmerandrealisticthanthelaterevolvedoffices.Subsequently,thefilmbringsoutalookofpowerfromBelfortandhisofficesbecomemoreluxurious.Thisisdepictedinacrisperlookwithwidelyfocusedshots,whitelight,cleardistinction,andfastcamerashifts.ThefinalversionofJordan’sinvestmentfirmisahugeofficespacefullofbigwindowsandofficeswithglasswalls.ThelocationselectedforthissectionwasathirdfloorofficebuildingatWestchesterinNewYork.Moreover,theheightofthebuildingmadeithardtocontroltheamountofsunlightonsetandrecreatingitaftersunset.Intheeveningstomaintainalookofdaylight,thefilmcrewhadtoimprovisewithlightboxesinallsidesofthesetandverticalblindstoshowaneffectofaplainwhiteout.Onanotherside,Jordan’slavishofficewassituatedwheretherelayawindowwithavastoutwardview.Thecrewalsoimprovisedwithlampslightingthebacking,andotherslightingthesettoensurethefilmwouldmaintaindaylightbrightnessregardlessofthetypeofweather.Moreover,thedirectorofthefilmalsocreatedcertainimagestodisplaycharactersmentalstatesandemotions.Forexample,duringthemanydrugescapadesofBelforttherewereupcloseshotswiththefraudster,ashedeliveredslowslurredwordsinhisdialogueandfeeldizzyorhigh.Theimageswouldbringtomindafeelingofblurbutatthesametimefloweddeliveringasensationofbeingloose.InoneofthesceneswhereJordanwashighonQuaaludesinani