Depth of field is the range of focus in a shot. There are two ranges of this –

A “shallow focus” is when there is a small depth of field and only one part of the image is in focus while the rest is blurry. An example of this is used in the film “Fathers and Daughters”, where it focuses on Katie’s face and her reactions, so the audience is fully focusing on that rather than anything else in the background.

A “deep focus” uses a large depth of field, so the whole of the scene is in focus for the audience. An example of this is used in the film “Ex Machina”, and in this scene we can see other people in the background and what is going on around the humanoid.

The depth of field is  the range of focus in a shot or photograph , it is an important concept for cinematographers to master  because they need to be able to manipulate focus in order to create the desired effect.

There are two types of focus , shallow focus and deep focus. Shallow focus is when there is only one character in focus and any other characters in the scene are out of focus and blurry and the audience is unable to see them , in contrast, if the scene is in deep focus then all characters can be seen by the audience and none of them are blurred , however , shallow focus can cost the film verisimilitude because real life does not look like shallow focus shots.

This is an example of shallow focus from the first Kill Bill film (2004, directed by Quentin Tarantino) and it helps to emphasise the fact that The Bride (Uma Thurman)  is the most important character in the scene and the characters in the background are irrelevant.

This scene from Citizen Kane (1941 , directed by Orson Welles) utilizes deep focus and this can be used in order to show that all characters in the scene are of equal importance and they are relevant to the plot of the film. Furthermore , deep focus makes the audience feel included in the world of the film because it helps to create verisimilitude because it reflects how the real world actually looks and it helps the film to create an accurate illusion of reality which shallow focus does not do.

Depth of field refers to the focus and clarity of the different layers of mid, fore and background. Sometimes, they can all be clear and well-focused, but typically; some are blurred out to bring attention to a certain aspect. For example; sometimes a mid and background is blurred out to bring attention to any subject in the foreground

Shallow focus involves the emphasis on one certain aspect of the scene, and highlights it by blurring out everything else to draw the audience’s attention to it straight away

Deep focus refers to the clear focus and clarity of all frames to ensure that the scene is neat, sharp and in clear focus

A good example of a film which utilises depth of field is ‘Social network’ (2010, by David Fincher) The background is blurred, to allow us to instantly recognise and focus on the main character. This indicates that the character is the relevant thing to look at because everyone else is blurred out. The character to our right, is not as blurred; expressing that he is also significant to the plot

A famous example of a tracking shot is from ‘Touch of evil’ (1958, by Orson Welles) I decided on this particular shot because of how visually interesting it is. A main reason for its significance is the tension it builds up. The whole film itself is very intense, with moments of slow agonising wait compared to some bursts of fast and sharp action. This particular shot is deliberately slow, and drawn out to both excite and frighten the audience, who are eagerly anticipating the next move. The daunting irony of the audience knowing that the time bomb is inside the car heightens the tension as it makes us feel like we are in on the action, especially the irritation as the couple regularly pass the car. We are anticipating the next move, so keeping us focused on the car is an interesting tactic in ensuring that no one looks away. By using this type of camera movement, this ensures that the audience can only focus on the action in front of them, and the pace of which the action is delivered; is deliberately controlled to create a tense and fearful atmosphere

A good example of a crane shot is from ‘Citizen Kane’ (1941, Orson Welles) This film was directed by Welles, who also directed ‘Touch of evil’ which incorporates various shot types into his work. I chose this film in particular because I think that the shot has a powerful impact on the audience, because of how it visually appease but also because of the significance it has towards the plot and character development. This scene depicts the story of the lack of appreciation for Susan’s performance, solidifying her character as looked down upon and somewhat tragic. This instantly evokes sympathy from the audience, who want to get to know the character. The camera rises up to the rafters, to overlook the scene from such a height. This gives us a broad view of the action, which ensures that we can observe everything going on. By ultimately separating us from Susan, we are given the illusion that she is trapped within this life that Kane has set for her and cannot get out. Since we are looking over the scene, this can give the implication that people looked down and upon the character, which can make the audience feel even further sorry for her

The film ’Animal Kingdom’ (2010, by David Michôd) showcases a good example of a dolly shot. The shot is an excellent way of establishing the eerie and almost frightening scene. The slow movement drags onto Pope’s longing expression, the audience then assumes that he is staring at the TV which is shown. But the picture cuts to Nicky, a character of which is asleep. This can be very effective in creating a spooked atmosphere but also clearly establishing Pope as a character not to be reckoned with. The movement is very significant, because it is deliberately slow which keeps the audience on the edge of their seat while equally entertained but also frightened.

‘Toy story’ (1995, by John Lasseter) shows an excellent example of a pedestal camera movement. The camera moves upwards from Buzz when he makes his first appearance in the film. This is done primarily to visually showcase his implicated and expressed superiority over Woody, who feels replaced. By showing him looking down on Woody, this is foreshadowing the feelings of inferiority and replacement by Woody later on in the film. This evokes an instant aspect of distain towards Buzz by the audience, because we are rooting for Woody; the protagonist, and do not like the idea of Buzz thinking that he is superior. Since this is our first look at Buzz, I personally think that our first impressions are largely negative. We get the impression that he is vain and extremely self-assured by his confident position looming over Woody. This suggests aspects of his character are mainly confident. By slowing lifting the camera upwards, not only is the tension manipulated by the camera crew but we are only showed Woody’s reaction as he first witnesses Buzz

A good example of a tilt movement is from ‘Star Wars: Episode IV – A New Hope’ (1977, by George Lucas) This famous shot is used in the opening scene, which implies that its main role of significance is to set the scene for the audience. The camera tilts down from the stars, to the planet. This instantly indicates the sci-fi aspect of the film by showing it is on a different, fictional planet. By starting with filming the stars, the audience get a peaceful start to the film, which contradicts all of the later action and tension. Since the opening begins with something basic enough, we can suggest that the action will increase later throughout the film. I think that the audience would be pleased by this opening, because they get an interesting visual of the world which helps create verisimilitude

The film ‘Psycho’ (1960, by Alfred Hitchcock’ utilises an excellent example of a pan downwards camera movement. The camera slowly pans down as Marion falls down after being stabbed. As the protagonist, her death is arguably very significant so her death would need to be something which engaged the audience because of her relevance as the main character. Since the camera slowly pans, this is important in creating tension which contradicts the frenzy and wildness of the situation. I think that the audience would sympathize with Marion because they understand her desperate character and do not think that she deserves to die

A good example of a high angle shot is from ‘Harry Potter and the Deathly Hallows: Part 2’ (2011, by David Yates) This angle is significant, particularly to the plot because it gives a representation of Voldemort’s power as he physically towers over Harry which shows the audience his sheer power. As the audience, we are frightened for Harry at the severity of his disastrous situation; this solidifies his character as a protagonist because despite the challenges he faces, we are still meant to stick by him. The angle is also well-framed, because it makes us look down on the scene as if we are a part of it. By having Voldemort tower over Harry, we feel that his situation is precarious and does not look good. There is also a sense of superiority by positioning Voldemort over Harry, insinuating that Voldemort thinks he is above Harry. This is also suggesting that he is more powerful than him, foreshadowing the ending where everyone believes that Harry was killed but it turned out that he defeated his arch rival

The film ‘Raising Arizona’ (1987, by Joel Coen) makes good use of low angles. This particular shot is highly effective in portraying Smalls as a menacing and dangerous character. This is done by forcing the camera to look up to him, implying that he believes to be superior to everyone, adding a touch of arrogance to his traits. The shot is well framed by positioning him in the centre, surrounded by guns. This implies that violence is his world, and all he ever knows. The audience should feel intimidated, or afraid for the characters because of the way that the camera is angled looking upwards at the character. He looks frightening because of the confidence expressed in his facial features, which represents his character very well

This example of a bird’s eye view is from the film ‘Psycho’ (1960, by Alfred Hitchcock) I think this is a strong example because everything seems eerie and out of place. The scene depicts the secret antagonist Norman’s attempt to hide the identity of his ‘mother’ who supposedly killed the investigator. The interesting aspect is that we do not know that his ‘mother’ is actually just the corpse, so I think this scene is very effective for the audience because it prevents them from finding out about the true identity, which creates even more tension. This type of angle is significant because it shows the entire setting, which allows our attention to drift away from ‘mother’, thus allowing her true identity to remain a secret. I think this is vital in retaining an element of mystery and surprise throughout the entire film

This is an example of a worm’s eye view camera angle from the film ‘The ant bully’ (2006, by John Davis) I particularly like this angle used because; although this film isn’t usually my favourite genre I think that both the plot and cinematography conveyed important messages. We perceive the scene in the same point of view as the ants, so view Lucas as gigantic in comparison. His anger is evident, which twists his character negatively, making him seen cruel and harsh; especially when he attacks the ants. From this, we don’t particularly like Lucas, although to a certain extent we do understand his rage; coming from his recent bullying. However, since he is looking down on the ants, this gives us a sense of his feelings of superiority. This is contradicted when he is shrunk down to their size and learns that he is equal to them. I think this shot is useful in conveying the main messages portrayed in the film, including equality

The film ‘Battlefield Earth’ (2000, by Rodger Christian) is well-known for its usage of Dutch tilt camera angles, I particularly like this one because of how abstract and complex it appears. The film itself is extremely complex; there are many different ideas and aspects which are varied. I think that this is also represented in this scene. The camera is only slightly tilted, which contrasts against the scaffolding bars and the outlines of buildings. There is a lot going on in this scene, so tilting the camera ensures that the audience can notice how uniquely balanced everything is.

This example of a canted shot is from the film ‘Inception’ (2010, by Christopher Nolan) I really like it because of how complicating it is to look at. I think that it reflects the confusing yet engaging nature of the film which ends with a complex and not fully explained ending. The whole plot revolves around the manipulation of dreams to receive what the main character Dom wants. By showing the characters swaying and manoeuvring across the corridor, this represents the shaky line separating dreams from reality. Since everything seems floaty, and on edge; it is hard to determine what is reality and dreams. I think the audience would be interested by the complexity of this shot, but might feel a bit confused about how to look at it without a headache

This dolly shot is from Malcom X (1992 , directed by Spike Lee) and in this scene , Malcom is on his way to give the speech where he will be assassinated. Lee has put both the actor and the camera on a dolly and this makes Malcom look like he’s floating like a ghost which may make the audience feel a sense of foreboding because they know what is about to happen.

This is the opening shot of Touch Of Evil (1958 , directed by Orson Welles ) and it is one continuous tracking shot which follows the main characters through a crowded street. The audience will be jolted out of their expectations because continuous tracking shots are notoriously difficult to execute and hence they are rarely attempted.

This example of a zoom shot is from The Shining (1980 , directed by Stanley Kubrick) and it makes the audience feel uncomfortable because before this scene , the audience were unsure weather Jack was going to go insane and in this scene we go from Jack hacking down the door to a close up of his deranged face and this would scare thee audience.

This pedestal shot is from Toy Story (1995 , directed by John Lassiter) is the establishing shot for Buzz Lightyear and it immediately makes it seem like he thinks he is superior to everyone else and this may make the audience begin to dislike him because they may think that Buzz is vain and has a superiority complex.

This extreme close up is from The Good , The Bad and The Ugly (1966 , directed by Sergio Leone) and it helps the audience to empathise with Blondie because we get to see his facial expressions. Furthermore, the extreme close up shot helps us to understand what is going through the characters mind because we get to sse his face in minute detail.

The opening scene of The Shining (1980 , directed by Stanley Kubrick) is a panoramic shot and this conveys the vastness of the environment and it also displays the isolation that the characters will experience because there is only one moving object in the scene which is Jack’s car and everything else is completely still and there is no movement whatsoever.

This medium – long shot from Star Wars (1977, directed by George Lucas shows the Stormtroopers and it gives the audience a full view of them and at this point in the film , the audience doesn’t know what  a big threat the Stormtroopers are so they may feel a sense of curiosity.