Is narrow DOF bad cinematograhpy?

diego1235467 said:
I'll chime in something else. With HD I much prefer deep DOF. I just can't see the glorious HD when it's too shallow :D
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Absolutely, HD gives such amazing picture that its a shame to cut so much of it out. I love being blown away by beautiful background shots. So much depth and detail.
 
I'm not sure why OP call the film in the link beautiful... All i see is flat lighting, boring 1/3 of the frame framing that we are SOOOOOO familiar with and DOF that's way too shallow for the story being told.
 
I think it looks very good, but it's nothing that special. It doesn't really add anything to the story. It seems like they used it "just 'cause."
 
Would some of the people here please learn how to properly use the term "DOF."

There's ALWAYS DOF, it can be either shallow or deep, but stop using "DOF" as if it always means shallow DOF, it's incorrect and annoying.
 
Patryk_Rebisz said:
I'm not sure why OP call the film in the link beautiful... All i see is flat lighting, boring 1/3 of the frame framing that we are SOOOOOO familiar with and DOF that's way too shallow for the story being told.
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The rule of thirds has been around for centuries, it won't be going away any time soon.
 
Patryk_Rebisz said:
I'm not sure why OP call the film in the link beautiful... All i see is flat lighting, boring 1/3 of the frame framing that we are SOOOOOO familiar with and DOF that's way too shallow for the story being told.
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Patryk, do you have an example of some footage that changes up the 1/3 framing? Maybe some of your work? I wouldn't mind seeing something off the rulebook and different from someone who knows what they're doing.
 
Zblock said:
BTW the film was really good. I think all the other aspects were in place sound/acting/story/music. It is true when they say the camera is only a small part of the whole package. Great job.
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It looked good but the sound was not great and the mix was less than good. The rest I can agree with, the story and acting worked pretty well. She mouthed in a pretty exaggerated way which bothered me but...
 
KKeller, and it shouldn't go away because it does create attractive framing unfortunately when everyone is using it with the "attractive framing" comes the feeling of unoriginality -- and that in turn creates issues.

Zblock, "Three Colors: Blue" comes to mind out of many examples where the DP is trying to fight the conventions.
 
Zblock said:
Patryk, do you have an example of some footage that changes up the 1/3 framing? Maybe some of your work? I wouldn't mind seeing something off the rulebook and different from someone who knows what they're doing.
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I know that's a rhetorical question, but...

The Shining?
Everything there is constantly centered, right?

But that's an extreme movie, both for it's mathematical precision and for how long it took to shoot. Plus, it's Stanley Kubrick.

Patryk_Rebisz said:
KKeller, and it shouldn't go away because it does create attractive framing unfortunately when everyone is using it with the "attractive framing" comes the feeling of unoriginality -- and that in turn creates issues.
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You shouldn't worry about originality so much.
It's not about being "attractive", it's about communication.

If you stick to conventions until you have a reason not to, you'll be fine.

My day job before I got MARIANNE off the ground was working at a multiplex for two and a half years selling tickets and running projectors. I've met the average cinemagoer on a daily basis and they don't notice or even want originality.
Most people actually visit a movie theater because they're in a mall, it's raining and they've got time to kill, and not because they care about movies in the slightest. Most people don't.
Rainy days are hell to work. Sunny days nothing's happening.

People want things they recognize and can relate to, like cola flavored soda, endless variations of parody movies, and sequels, prequels and reboots.
You'd kill yourself if you knew how many times I've had this piece of dialogue at work (sorry bout the wrong format):

CUSTOMER
Date Movie? What's that?

ME
You know what Epic Movie is?

CUSTOMER
Oh. Yeah, that was kinda funny.

ME
Well, this is exactly the same thing.

CUSTOMER
Oh cool. We'll take two of those.

​

Conventions SHOULD be used. THERE WILL BE BLOOD was only shown two weeks at our multiplex.
I may sound cynical, but you have to speak to people in a language they understand.
 
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My feelings are that DOF is just another tool for telling a story.

The reason the OCD in you is kicking in is because it is overused and you are subconscioulsy picking up on the fact that the camera is creating a thematic that is running throughout the narrative.

I can't actually listen to the sound right now, so I can't tell what it's about.

However, it seems that the mood between the girl and the two friends should be different.

The shallow DOF accentuates the love between the boy and girl (makes it as though they are the only two people in the world). When that thematic is carried over to the conversation with the boys it feels like overkill.

What's happening is that you are losing the ability of the camera to tell the story subtly.

Composition can be the same. Different shots can create different moods. They can isolate someone (wide) or bring great intimacy (CU), but if you just use them willy-nilly you lose the language and it all blurs into one.
 
decadencefilms said:
my feelings are that dof is just another tool for telling a story.

The reason the ocd in you is kicking in is because it is overused and you are subconscioulsy picking up on the fact that the camera is creating a thematic that is running throughout the narrative.

I can't actually listen to the sound right now, so i can't tell what it's about.

However, it seems that the mood between the girl and the two friends should be different.

The shallow dof accentuates the love between the boy and girl (makes it as though they are the only two people in the world). When that thematic is carried over to the conversation with the boys it feels like overkill.

What's happening is that you are losing the ability of the camera to tell the story subtly.

Composition can be the same. Different shots can create different moods. They can isolate someone (wide) or bring great intimacy (cu), but if you just use them willy-nilly you lose the language and it all blurs into one.
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+1
 
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