In Part 5 of our series on depth of field we dive into two things that can blur your image: light diffraction and circle of confusion. Both are important to understand so that you get the sharpest image possible.
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When working depth of field, it is almost a requirement to use a depth of field calculator. This allows a cinematographer to not only better plan shots, but empowers him or her to actually move the depth of field around to exactly where the project needs it to fall. In this lesson we go through the steps of using a depth of field calculator, as well as a list of advanced tips and tricks to push it around your set.
Something interesting happens to the depth of field when the subject distance changes. As the camera gets closer to the subject, the depth of field gets smaller and more compressed, but when the camera distance increases the depth of field expands.
At a special distance the far focal limit reaches infinity long before the focal plane gets anywhere close to this far. Sometimes this is just a few feet from the camera! This means you can have the distant horizon in focus plus a lot of foreground without needing to focus very far in front of the camera. This distance is called the hyperfocal distance.
In Part 2 of our series on depth of field we cover how the focal length of the lens and the distance from the subject affect depth of field. We also cover how you can use various types of neutral density filters (ND) to control light levels so you can achieve your desired depth of field.
Depth of field is an important storytelling tool for filmmakers. It can aid perspective, emotional resonance, action and understanding of a project.
Depth of field is defined by the range of distance where an image appears to be in focus. There are some key tools we have to adjust and control our depth of field, two of which are aperture and ISO. In this lesson we look at at how aperture and ISO affect depth of field.
While most filmmakers dream about how they’ll shoot their next feature film, the reality is that at some point you’ll be shooting a corporate video. You may even build a whole career off of it, since it is always in demand. In this video Ryan takes you behind the scenes and shows you his approach to cinematically lighting a corporate video.
When you are pressed for time and every second counts knowing how to light quickly can be the difference between getting the shot or not. In this video Ryan shares his secrets so you can light fast while under pressure.
Shooting high speed video is not quite as straightforward as a regular speed shoot. By following these five tips you’ll not only walk away with great looking footage, but you’ll stay on schedule: use a high speed technician, essential high speed accessories, black balance the camera, schedule additional time for the shoot, and consider post-production workflow before you shoot.
In Part 5 of our series on high speed videography, we cover lighting six different high speed sets: bullet time, pie in the face, shooting an apple at 150,000 frames per second, along with lighting water and fire.
Lighting for high speed is not as straightforward as lighting for 24 frames per second. In this video Ryan covers some common lighting issues and how to overcome them. We’ll cover amount of light, flicker from various sources, and gaining options by adjusting the shutter angle.
When you’re filming high speed events, how do you hit record at the right time? In Part 3 of our series on high speed videography, we explain how: loop record, trigger-point, and post-trigger. Then we cover storing and transferring the footage in various ways depending on your resources.
In Part 2 of our series on high speed videography, we cover how to pick a frame rate, since the speed greatly depends on what you are filming and how it is going to be used. Next we go through a huge list of examples–including ones with speed ramping–and why they were shot at certain frame rates. We also touch on how resolution affects frame rate.