Depth of Field Depth of Field The distance

Depth of Field § The distance range between the nearest and farthest objects that

The General Principles that Govern Depth of Field Greater depth of field Less depth

DOF and size of CCD chip or film frame ･First is a 35 mm

Selective focus Blue - directed by Krzystof Kieslowfski

Type of Close-ups § Cut-in close-up: a magnified portion of the preceding large scene.

The Power of Close-ups § A properly chosen, expertly-filmed, effectively-edited close-up can cause dramatic

The Double Life of Veronique by Krzysztof Kieslowski

Camera Movement 1. 2. 3. 4. 5. 6. 7. Pans Tilts Dolly Shots Hand-held

Demo § Camera movement: Tracks and skateboard dolly § Outdoor lighting demo: reflector and

Project #2 § Available Light Project (Due Oct. 12) (KODAK VISION 2 250 D/7205)

Reading § § § P 173 -195 Close-ups; (Five C’s of Cinematography) Malkiewicz p

Hyperfocal Distance § The hyperfocal distance is the point of focus where everything from

Slides: 31

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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.

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

F-2. 8 F-5. 6 F-11 F-22

DOF and size of CCD chip or film frame ･First is a 35 mm movie camera. ･Second is a 16 mm movie camera (or a 2/3 inch broadcasting camera). ･Third is a 1/3 inch pro-consumer DV (Panasonic DVX 100, Panasonic HVX-200) ･Forth is a consumer 1/4 inch mini -DV camera (Canon GL 1, Sony TRV 900)

Film vs. Video

Selective focus Blue - directed by Krzystof Kieslowfski

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 closeups may be filmed from three camera angles: Objectively, Subjectively and pointof view.

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.

The Double Life of Veronique by Krzysztof Kieslowski

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

Demo 16 mm Camera Éclair NPR

Film Loading

The Path Through the Camera

The Shutter

Reasons to Change the Shutter Angle

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

Demo § Camera movement: Tracks and skateboard dolly § Outdoor lighting demo: reflector and diffusion

Project #2 § Available Light Project (Due Oct. 12) (KODAK VISION 2 250 D/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.

Reading § § § P 173 -195 Close-ups; (Five C’s of Cinematography) Malkiewicz p 19 -26; Optics, (Cinematography) Steven Bernstein p. 55 -62; Depth of Field (Film Production)

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