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Deep focus is a photographic and cinematographic technique using a large depth of field. Depth of field is the front-to-back range of focus in an image, or how much of it appears sharp and clear. In deep focus, the foreground, middle ground, and background are all in focus. Deep focus is normally achieved by choosing a small aperture.
Gregg Wesley Toland (May 29, 1904 – September 28, 1948) was an American cinematographer known for his innovative use of techniques such as deep focus, examples of which can be found in his work on Orson Welles' Citizen Kane (1941), William Wyler's The Best Years of Our Lives (1946), and John Ford's The Grapes of Wrath, and The Long Voyage Home (both, 1940).
For his early films, although they were consistently well photographed, Kurosawa generally used standard lenses and deep-focus photography. Beginning with Seven Samurai (1954), however, Kurosawa's cinematic technique changed drastically with his extensive use of long lens and multiple cameras.
Especially in narrative filmmaking, cross-cutting is traditionally used to build suspense or to suggest a thematic relationship between two sets of actions. Continuity editing An editorial style that preserves the illusion of undisrupted time and space across editorial transitions (especially cuts). Deep focus
In Citizen Kane (1941), cinematographer Gregg Toland and director Orson Welles used tighter apertures to create every detail of the foreground and background of the sets in sharp focus. This practice is known as deep focus. Deep focus became a popular cinematographic device from the 1940s onward in Hollywood. Today, the trend is for more ...
If the camera moves less than 30 degrees, the transition between shots may look like a jump cut, which could jar the audience and take them out of the story by causing them to focus on the film technique rather than the narrative itself. [2] 3D film. Also called a three-dimensional film, three-dimensional stereoscopic film, or S3D film.
The phrase depth of focus is sometimes erroneously used to refer to depth of field (DOF), which is the distance from the lens in acceptable focus, whereas the true meaning of depth of focus refers to the zone behind the lens wherein the film plane or sensor is placed to produce an in-focus image. Depth of field depends on the focus distance ...
The concentration on objective reality, deep focus, and lack of montage are linked to Bazin's belief that the interpretation of a film or scene should be left to the spectator. This placed him in opposition to film theory of the 1920s and 1930s, which emphasized how the cinema could manipulate reality.