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Depth of Field

Depth of Field. Depth of Field. The distance range between the nearest and farthest objects that appear in acceptably sharp focus. Depth of field depends on the lens opening, the focal length of the lens, and the distance from the lens to the subject. Hyperfocal Distance.

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Depth of Field

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  1. Depth of Field

  2. Depth of Field • The distance range between the nearest and farthest objects that appear in acceptably sharp focus. • Depth of field depends on the lens opening, the focal length of the lens, and the distance from the lens to the subject.

  3. Hyperfocal Distance • The hyperfocal distance is the point of focus where everything from half that distance to infinity falls within the depth of field.

  4. The General Principles that Govern Depth of Field

  5. F-5.6 F-2.8 F-11 F-22

  6. Film vs. Video

  7. Film vs. Video

  8. DOF and size of CCD chip or film frame ･First is a 35mm movie camera. ･Second is a 16mm movie camera (or a 2/3 inch broadcasting camera). ･Third is a 1/3 inch pro-consumer DV (Canon XL1, Panasonic HVX-200) ･Forth is a consumer 1/4 inch mini -DV camera (Canon GL1, TRV900)

  9. Selective focus Blue - directed by Krzystof Kieslowfski

  10. The Power of Close-ups • A properly chosen, expertly-filmed, effectively-edited close-up can cause dramatic impact and visual clarity to the event. • Close-up should be considered from both visual and editorial standpoints. • Important in theatrical production: camera angle, image size and lighting of theatrical close-ups.

  11. Type of Close-ups • Cut-in close-up: a magnified portion of the preceding large scene. The audience’s curiosity should be satisfied by bringing them closer, otherwise the viewer may lose interest. • Cut-away close-up: is related to, but not a part of, the previous scene. Cut-away close-ups may be filmed from three camera angles: Objectively, Subjectively and point-of view.

  12. 11'09'01-U.S.A. by Sean Penn

  13. Blue by Krzysztof Kieslowski

  14. The Double Life of Veronique by Krzysztof Kieslowski

  15. Camera Movement • Pans • Tilts • Dolly Shots • Hand-held shots • Crane Shots • Zoom Lenses • The Aerial Shot

  16. Beyond The Clouds

  17. The Color Of Purple

  18. Demo • Camera movement: Tracks and skateboard dolly • Outdoor lighting demo: reflector and diffusion

  19. Reading • P173-195 Close-ups; (Five C’s of Cinematography) • Malkiewicz p19-26; Optics, (Cinematography) • Steven Bernstein p.55-62; Depth of Field (Film Production)

  20. Project #2 • Available Light Project (Due Oct. 12) (KODAK VISION2 250D/7205) • Develop a narrative story that’s taken place either interior of exterior. Shoot 400 feet of film using available light only. You are encouraged to combine with camera movements. • Two group of six.

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