Deep focus
The concept of deep focus cinematography refers to the use of large depth of field as possible in the film with the help of camera technical means, such as the use of wide-angle lenses and the smallest possible aperture. The Deep focus cinematography is closely related to the Deep Space mise- en- scène, but need not be synonymous with her. Paradigmatic example is the movie Citizen Kane ( Orson Welles, USA 1941).
The use of depth of field than cinematographic method is not only an invention of the 1940s. The deep -focus cinematography, as well as its close relative, the Deep -space- mise -en- scène, were known as a stylistic device already in the early days of cinema. During the 1920s and 1930s, however, continued at least in the classic Hollywood style with a who renounced depth often. In this ' soft style ' (soft style) sharp contrasts were rejected as inartistic, a slight blur over all image planes was rather the goal. Considering the technological innovations in this period, it is obvious how much influence stylistic preferences of filmmakers and technological innovations mutually.
Light
Until well into the 1920s were carbon arc lamps and orthochromatic film to the standard of filmmakers. Bulbs, such as the Mazda lamp manufactured by General Electric, a long time were not successful because their light temperature was in the red zone, which could not expose the orthochromatic film. Beginning of 1928 finally isolated innovations were summarized in a larger research and development program. The Academy was founded a year earlier organized with the ASC and affected companies such as General Electric, Mole - Richardson Eastman or a test program in which benefits and handling of Mazda lamps and panchromatic film were elicited. Bulbs had the great advantage that they were much cheaper due to their lower power consumption, to also easier to handle and transport. In addition, the carbon - arc lamps had the side effect that they gave a permanent, high-pitched whistle of what was a distinct disadvantage during the introduction of sound. The bulbs have obtained so quickly widespread in the studios. A far-reaching consequence of the Mazda lamps, however, was that this brought a certain lack of focus and contrast weakness with it. While this matched the then-popular soft style, but repeatedly led to efforts of individual filmmakers to return to carbon arc lamps. With the development of the Technicolor three- color system that only worked hard with incandescent lamps, the carbon arc lamps were further developed and could claim the late 1930s, again a certain market segment for itself.
Footage
Already during the 1920s, the panchromatic film continued gradually through. Since he also responded to red light skin tones could be presented much better. The first panchromatic film materials were very sensitive to light ( 'slow' ): The aperture had to be wide open, the light can be amplified. Result was a low-contrast, bright lighting and a shallow depth of field, which gave a soft expression to the image. During the 1930s, the film materials were further developed. But used most cinematographers a wide open aperture and bright lighting, since only these then the desired 'soft style' revealed. Few filmmakers preferred to use higher contrasts, sharp outline and a certain depth of field.
The introduction of sound
However, if the two developments of lighting and film footage to be regarded initially as independent, so there is no denying that they fell exactly in the time in which Hollywood Ground surrounded on the sound. Thus resulting from the introduction of sound, other factors having a bearing on the lighting and footage: The synchronization of the sound with the image made an increase in film speed to 24fps necessary. This resulted in a lower maximum exposure time, which in turn necessitated a stronger illumination of the set. Furthermore, the noisy arc lights had to be soundproofed or replaced by the quieter Mazda lamps. Also, cameras had to be soundproofed accordingly. However, this camera body carried with them that the camera filmed by a glass plate, which reduced the sharpness of the image and the intensity again. Due to the lower exposure time cameramen were further enticed to open the aperture wide and thus to reduce the depth of field.
Depth of field or soft- style?
Although mentioned in this technical resources aimed primarily from a market, who wanted to achieve a shallow depth of field. Nevertheless, there were several filmmakers who were already experimenting with higher depth of field. The highlight of this alternative development can be the work of Gregg Toland cameraman and director Orson Welles in Citizen Kane ( 1941), respectively. The combination of various technical developments of the 1930s - Wide angle lenses, light-sensitive panchromatic films, advanced arc lamps, specially coated lens systems to capture light better and the new, silent Mitchell Camera - allowed a freer use of field depth.
Thus, the development is a mutual influence of production and technical innovation. Technical developments enabled specific ways of working and, therefore, preferred individual stylistic device. On the other hand, stopped producing concrete requirements to the developers asked for certain innovations and so controlled the direction of the research. However, it was also given alternative developments within this relationship system space.
Deep Space cinematography and realism
André Bazin celebrates the art of Deep Space cinematography, especially the film Citizen Kane, as a prime example of his definition of realism. For him, the rules of the assembly are just patronizing the viewer while she / he is in pronounced depth of field can even choose the object of his attention. David Bordwell vehemently contradicts this approach and shows that the quasi- realistic representation of the depth of field already contains significant artistic alienation effects.
A special recording technique, the so-called " forced perspective " ( "forced perspective" ), is only possible with the deep focus cinematography, but is just not an example of realism. The for the Walt Disney fantasy film The Darby O'Gill ( Darby O'Gill and the Little People, 1959) developed method makes use of the fact that the human eye due to the two-dimensionality of the film image can not realize how far things or people are really apart, as long as moving the camera or the filmed objects nonconsecutive. In order to create the impression that a normal-sized person interacts with a figure in brownies format, but the larger figure was draped with a part of the equipment in the foreground of the scene, which appear smaller, however, is to end in four times the distance with a frame accurate " matching " four times magnified equipment in the background. Marker points helped the actors, despite the distance to play together while maintaining the correct line of sight. For these scenes Ub Iwerks designed with the engineer Bob Otto, a camera with node - perspective (English " nodal -point perspective camera" ). This special camera generated from the two different sets a seamlessly combined total intake. The complicated shots require a very large film set, which requires a corresponding amount of light, so that a deep sharp picture film succeeds.