![]() ![]() ![]() ![]() Of course the amount of light available plays a huge part too – shooting outside in summer sunshine offers massive amounts of light (and whole new set of issues) where shooting on the street at night offers very little light. And when they do move, it has an impact on shots with a very shallow depth of field as the focus must be ‘pulled’ so that the image remains sharp on the actors. Many people like the shallow depth of field look as it’s considered cinematic, but it’s also a major pain in the ass on set as to keep things in focus when they move is a challenge– and let’s be clear, what we are often focussed on are the creative and emotive humans we call actors. The depth of field can often be controlled by the aperture (though in practical reality, the aperture is more often controlled by the amount of light on set). A shallow depth of field means only images the lens is focussed on will be sharp. The depth of field is the area that is in focus in the image.Ī large depth of field means objects near and distant will be in focus. The basic rule is this, the more light, the greater the depth of field. This increases or reduces the amount of light that passes through the lens and hits the sensor in the camera, which in turn creates the image we that see. This is a setting on the lens that opens up and closes an internal iris made of metal blades. ![]()
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