A considerable effort is given to creating a shallow depth of field (DoF) in order to create a more cinematographic look, enabling the cinematographer to guide the viewer to concentrate ONLY on the small areas of sharp focus. However, there are occasions when it is preferable for the viewer to be able to see focussed images over a great range, so this is a short treatment of methods to creating a large DoF. Read here: https://lnkd.in/euiHZKqH
I’ve always been a bit old fashioned and looked at the films of Mario Bava, Orson Welles and others where the key was putting interesting objects in the imediate foreground, midground and background, often with different lighting effects for different depths. The drama in the frame then becomes how you move past the objects or between forground, midground and background. There is also that great split focus effect where you have say a screaming face in focus in the foreground and the vivid detail of the background also in focus, something which the eye knows is impossible, which therefore has a jarring effect. (much used by Robert Wise in The Haunting)
Absolutely I couldn't agree more Barry. There is a time and place for a shallow DOP of course, interview shots etc, but it should only be used when really needed. And shooting wide open say at F2, can be focusing a real challenge with talent that like to move a little too! But for general B Roll that include exteriors, F8 really is an ideal sweet spot combining the best of the lens's performance and amount of footage in focus.
Thanks for sharing this knowledge.
President at Infinity Photo-Optical Company
2moAs the inventor of the Nelsonian(R) lenses which Barry Basset has so ably described their use in this post, I offer my many heartfelt thanks. Please see the Infinity Photo-Optical site for further details. https://www.infinity-usa.com/robusto-series/robusto-ts-160/ www.ts-160system.com and www.mikromak-primes.com