|
|
Post by Doghouse6 on Sept 15, 2017 23:10:34 GMT
You have to adjust the f-stop to a wider aperture to let in more light, and possibly use a wider angle lens, both of which, of course, affect depth of field. It also depends upon the ASA or speed of the film stock you're using. The higher the speed, the less light you would need, so the depth of field could be manipulated by using longer lenses and lower f-stops. Higher ASA stocks began to be used regularly in the early seventies with DPs like Gordon Willis who shot THE GODFATHER. Hope this helps. Thanks. I'm a little surprised to hear that it works the same way as in still photography, I mean, film is film, so it shouldn't be too surprising, but I'm thinking of the apartment scene in LAURA, where McPherson turns on lights in a fairly dark room. I wonder how the cinematographer compensated for the sudden addition of light. There aren't any cuts, and the depth-of-field remains constaint. I have no experience with moving film cameras, so this is just something that always made me curious. When I first read your query this morning, I was hoping spiderwort would jump in. I refrained from commenting then, as my knowledge is both scant and second-hand (having worked only in post, and then, only in clerical/administrative capacities). But conceptually, perhaps it helps to remember that motion picture photography is actually still photographs: 24 of them per second. What the DP does is set illumination and exposure for hundreds of photographs in succession rather than for a single one. Would that be fair to say, spider (if you're monitoring this thread)? |
|
