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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.

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Presentation on theme: "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."— Presentation transcript:

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.

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

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

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9 Film vs. Video

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11 ･ 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) ･ 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) DOF and size of CCD chip or film frame

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

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14 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.

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

17 Blue by Krzysztof Kieslowski

18 The Double Life of Veronique by Krzysztof Kieslowski

19 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

20 Beyond The Clouds

21 The Color Of Purple

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23 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

24 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)

25 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.

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