1. Depth of Field

2.  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.  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.

6. The General Principles that Govern Depth of Field Greater depth of fieldLess depth of field Wide-angle lensesTelephoto lenses High f-stop(small aperture)Low f-stop (wide aperture) Subject far away from cameraSubject close to camera

7. F-5.6 F-2.8 F-11F-22

9. ･ 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 (Panasonic DVX100, Panasonic HVX-200) ･ Forth is a consumer 1/4 inch mini -DV camera (Canon GL1, Sony TRV900) ･ 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 (Panasonic DVX100, Panasonic HVX-200) ･ Forth is a consumer 1/4 inch mini -DV camera (Canon GL1, Sony TRV900) DOF and size of CCD chip or film frame

10. Film vs. Video

12. Selective focus Blue - directed by Krzystof Kieslowfski Selective focus Blue - directed by Krzystof Kieslowfski

15. 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.  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.

16. 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.  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.

17. The Double Life of Veronique by Krzysztof Kieslowski

18. 11'09'01-U.S.A. by Sean Penn

19. Demo 16mm Camera Éclair NPR

20. Film Loading

22. The Path Through the Camera

23. The Shutter

24. Reasons to Change the Shutter Angle

25. Camera Movement 1. Pans 2. Tilts 3. Dolly Shots 4. Hand-held shots 5. Crane Shots 6. Zoom Lenses 7. The Aerial Shot 1. Pans 2. Tilts 3. Dolly Shots 4. Hand-held shots 5. Crane Shots 6. Zoom Lenses 7. The Aerial Shot

28. Demo  Camera movement: Tracks and skateboard dolly  Outdoor lighting demo: reflector and diffusion  Camera movement: Tracks and skateboard dolly  Outdoor lighting demo: reflector and diffusion

29. 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.  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.

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

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