1. Depth of Field

2. 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.

3. Controlling the depth of field helps tell the story by allowing the viewer to focus on key elements of the scene. A large or wide depth of field (deep focus) is used to show the entire scene in focus. By opening the aperture, moving further back, and using a longer lens, the depth of field narrows, and the background and surrounding elements fall out of focus. This effect can dramatize a scene by calling attention to a lone sharp subject, rendering everything behind and in front of that object soft. This effect is often called Differential Focusing.

4. Dof chart

5. 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
Depth of field is the area between the closest and farthest points from the camera that are in acceptable focus. When the focus is set at a given distance, there is a range in front of and behind that distance which remains in focus. The cinematographer must understand how to calculate the depth of field for a given shot, and how to expand and shrink that depth of field, as necessary.
Film systems provide control over depth of field. The naturally shallow depth of field can be easily manipulated to create the look you want. Depth of field is used as a creative tool. In many scenes, there is so much depth of field for the viewer, that it is sometimes difficult to isolate where the audience should be looking. By using depth of field to control the image, you can isolate the character from the background.
There are several ways to determine depth of field:
Depth of field tables.
Manual calculators, which allow the user to approximate a depth of field by lining up the parameters on a type of slide rule.
Computer software can calculate depth of field.

6. F-2.8
F-2.8
F-5.6
F-5.6
F-11
F-22
F-11
F-22

8. Film vs. Video

9. Film vs. Video

10. Blue - directed by Krzystof Kieslowfski
Controlling the depth of field helps tell the story by allowing the viewer to focus on key elements of the scene. A large or wide depth of field (deep focus) is used to show the entire scene in focus. By opening the aperture, moving further back, and using a longer lens, the depth of field narrows, and the background and surrounding elements fall out of focus. This effect can dramatize a scene by calling attention to a lone sharp subject, rendering everything behind and in front of that object soft. This effect is often called Differential Focusing.
Blue - directed by Krzystof Kieslowfski

11. 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 close-ups may be filmed from three camera angles: Objectively, Subjectively and point- of view.

12. 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.

14. The Double Life of Veronique by Krzysztof Kieslowski

15. 11'09'01-U.S.A. by Sean Penn

16. Camera Movement Pans Tilts Dolly Shots Hand-held shots Crane Shots
Zoom Lenses
The Aerial Shot