Learn about the effective use of the tools and methods of quantifying depth of field. Learn about how much the psychology of the image affects focus.
- There are times when decisions exist…that only the cinematographer can make.…Focus often comes down to the cinematographer.…Someone has to decide whether a given part of the frame…is sharp as it should be, or as soft as it should be.…This is as subjective as it is technical.…What medium are you shooting?…What kind of film is it?…No one else in the film has the technical knowledge…and story understanding to make these decisions for you.…
So, we're going to describe the factors involved…into this decision-making process…and offer some choices in how to decide.…Now, we delegate the act of focus pulling…to the first camera assistant.…But focus is a fundamental element of composition,…even in paintings.…An example is this painting by Gustave Caillebotte.…If you look at the grill in the foreground,…it's more contrasty than the scene beyond it.…That's a way of painting in depth of field,…so that the foreground has more prominence…than the background.…
What's out of focus may be just as important…as what's in focus.…It's subjective and not purely technical.…
Focus equipment can be complex and completely separate from the camera. Bill talks about how to use this equipment effectively. In addition, unlike still photography, your camera and the subject in front of your camera may be in motion. Discover how to manage this dynamic aspect of filmmaking, including how to avoid common focusing errors with actors. Finally, get tips for handling common problems with lighting and focus.
- Using the light meter
- Optics concepts
- Pulling focus
- Focus splits and zones of focus
- Composition and movement
- Avoiding common focusing errors with actors
- Solving common lighting and focus problems