Cycle Three Production

Shot Composition

The Frame
The frame of view can be considered on three planes; the X-axis (horizontal plane), the Y-Axis (vertical plane), and the Z-axis (depth).

NTSC video format adheres to a 4:3 aspect ratio, which constrains the X-axis and the Y-axis.
The Z-axis is affected by shot composition (i.e. foreground, middle ground, and background) and by the depth-of-field

Focal Length

The focal length is the distance from the center of your lens to where the image is recorded (with film cameras it is the film itself and with video cameras it is the CCD's).

Focal length is usually measured in millimeters (mm) and refers to the size of the image magnification.

A smaller focal length will give a wider angle shot. A larger focal length will give a more narrow angle shot with greater magnification.

Focus

Plane of Critical Focus
A camera lens can focus exactly on a point a particular distance away based on the focus setting, the plane where this point intersects the Z-axis is called the Plane of Critical Focus.

Depth of field

The range along the z-axis of a shot that is in acceptable focus.

Depth-of-field is the zone on either side of the Plane of Critical Focus where objects, although not perfectly in focus, are considered to still be in focus.

Depth of Field Rule of Thirds: Of the total Depth of Field, 2/3 will extend back behind the Plane of Critical Focus and 1/3 will extend in front of it.

Reducing the depth of field can blur out the background, drawing more attention to the in-focus foreground.

Factors that affect Depth of Field

Focus Parameter	Increase Depth of Field	Decrease Depth of Field
Light Intensity	High	Low
f-stop	Larger (f16)	Smaller (f1.4)
Iris	Smaller	Larger
Camera to Subject Distance	Short	Long
Focal Length	Shorter	Longer
Zoom	Wide (W) / Out	Telephoto (T) / In

Light Intensity – brighter light allows for more control over depth of field.
Digital video tends to get grainy in low light situations.

Aperture size and light intensity – the smaller the aperture the greater the depth of field, therefore, when there is greater available light the aperture can be reduced increasing the depth of field. The greater the intensity of light a greater range of depth of field is possible.

Camera to Subject Distance – the closer the camera is to the subject the less the depth of field. Moving the camera closer to a subject and zooming out will result in the framing of the subject remaining the same but the depth of field will increase bringing more detail to the background.

Compression of Space. Camera-to-subject distance can dramatically compress the perceived distance between the subject and the background in a shot. It is, in fact, the camera-to-object distance that changes the depth-of-field and not the focal length of the lens as is commonly thought (Whittaker, 2003, http://www.cybercollege.com/myths.htm)

Lens focal length – a shorter focal length allows the camera to get closer to the subject allowing a greater depth of field.

Hyperfocal Distance: The near limit (distance) of depth of field when the lens is focused at infinity.

Circle of Confusion
A way of defining acceptable range of focus (i.e. Depth of Field) based on aperture size, camera-to-subject distance and the medium the camera is recording to. The circle of confusion is the degree to which a point can be off-perfect focus within the camera and still be considered "in-focus." For example on 16mm file the circle of confusion is estimated between 1/1000 and 2/1000 of an inch.

The Interview

Two elements that are important to capture during an interview are:

Information – Who, What, Where, When, Why, How. Make sure your information is complete and accurate. Information will give your story structure.

Affect – look for qualities in images and sounds that give your interview interest and immediacy. Shots that contain humor, passion, intensity, character, or personality will make your story more compelling to your viewers.

Framing

Remember the guidelines for framing from Cycle Two:

Composition Rule of Thirds

The 180 Degree Rule

It is important to maintain interest in an interview by having a variety of shots that show different perspectives or angles. However, it is essential to maintain “consistency of screen direction.” This means that you should not cross the “Axis of Action” or the imaginary line that follows the main subject’s action or direction of focus.

The 180¾ Rule states that you can place the camera anywhere along the 180¾ of one side of the axis of action and maintain consistency of screen direction.

You should not cross the axis of action without:

The use of a moving shot that shows the crossing of the axis of action.

Indicate on screen that a shot is a “Reverse Angle” as is done in sporting events.