Try Audiio using my link audiio.com/alexzarfati and get 70% off year 1 of Audiio Pro. Discount code ‘zarfati70’ My Filmmaking Course: www.featurefilmmaker.co/ Join our Whatsapp Community: chat.whatsapp.com/D8lwCli7YBw... This video was graded with my cinema Luts: www.alexzarfati.com/luts My favorite lens: amzn.to/3CCR7X1 My Favorite Light: amzn.to/44kYvke My Camera Bodies Ursa 12K amzn.to/3AyXpnT Bmpcc 6K Pro amzn.to/3TuW7Do My Lenses Sigma lens 24-70mm amzn.to/4433N4a Sigma lens 50mm amzn.to/3CCR7X1 Sigma lens 24mm amzn.to/3RmYl5R Sigma lens 50-100mm amzn.to/3PTUpIF My Drone Mavic Pro 3 amzn.to/3RFP3nU My Audio Gear Rode NTG3 amzn.to/3RHWefc Cheaper Lav System amzn.to/3zjaB3y Better Lav System amzn.to/4evX1Kh Zoom Recorder amzn.to/3CHmC2q Patch Cable amzn.to/3R4a1uy Get this for Rodelink lav set amzn.to/3pSyO8H Boom Pole Holder amzn.to/45GGr6h Boom Pole clamp amzn.to/3wFwoy8 Best on Camera Monitor amzn.to/3RF1mkg Feelworld Monitor amzn.to/3PZLa9C SDI Cable amzn.to/3R16cWV HDMI Cable amzn.to/3pVpzoo My Lights GVM 650B: amzn.to/44kYvke Amaran 300C amzn.to/4ax1Gtq Aputure 300D II amzn.to/3RfaXeY Aputure Mini Lights amzn.to/3RlUDte Nanlite Projector mount amzn.to/44BAxTd Aputure light dome amzn.to/3cxC3zs Aputure light dome Mini amzn.to/3ATJIl1 Tripods and C-stands Tripod Small rig amzn.to/3Nbf5MJ Tripod amzn.to/3AtMRXn Cheap C-stand amzn.to/3PYuYWq Better C-stand amzn.to/3Rvw4d8 Accessories Ursa sticky circles for lav amzn.to/3Ax6Iov Sandbags amzn.to/3e6Fzky Clamps amzn.to/3QYSZxS Gaff Tape amzn.to/3wETbdo Painters Tape amzn.to/3wHAQMN Tool Set amzn.to/3AwYLQ9 As an Amazon Associate I earn from qualifying purchases #commisionsearned
What many people forget is that all these techniques (the rule of thirds, contrast, shallow depth of field) are just tools. You can find thousands of them online. But the most important thing is intention-the meaning you want to convey through the image. This intention varies from one film to another. The director and the cinematographer are like “visual psychologists”: they don’t just aim for a “cinematic” image, but rather to express the story’s dramatic essence. Without a guiding reason behind each choice, simply aiming for a “cinema look” makes no sense. What makes each film unique isn’t the technique-which everyone knows-but the intention. It’s the intention that brings subtlety, something tutorials can’t teach. You develop this sensitivity by studying all kinds of works (paintings, films, books) and by exploring different artistic languages. It’s this ability to draw from various sources that allows you to create images that are truly moving and authentic. Also, it’s important to clarify that the director is not the cinematographer, and the cinematographer is not the director. These are two completely different professions. Wanting to learn both, in my opinion, is somewhat a waste of time, because I believe it’s better to focus on one area. Of course, there can be some value in trying both, but you’ll quickly realize that the more ambitious your projects become, the more you’ll need a team. And in a team, you need to know how to delegate. At some point, you have to make a choice: are you a director? Being a director isn’t just about technical shot breakdowns or framing-it also involves directing actors and managing a crew. These are aspects of directing that many, many people forget. Then there’s the cinematographer, who collaborates with the lighting crew, the key grip, and even the sound department (since lighting can affect boom shadows). The cinematographer also works with the director to translate their vision. Remember, the cinematographer doesn’t make their own film-they make the director’s film. They bring the director’s vision to life, not their own. And very few tutorials mention this, if at all.
Hey Alex, I've been watching a lot of your videos and I must say, thank you for sharing your knowledge on filmmaking! I've learned so much from the way you apporach lighting, story telling and camera angles, so thank you! Keep up the great work!
Great video on depth of field. I was expecting something slightly different based on the title as the #1 method cinematographers use to create depth is lighting, but either way I was not disappointed!
Good video again Alex. I have to admit, I'm not a fan of focus pulls and backgrounds being out of focus, I like everything in focus. My thoughts are, we would not just want a scene in boring blank background, we would want some life, it to look interesting, so if we do have this interesting backdrop, why blur it all out, as then, in my mind it might as well be that blank back drop. If you're worried the viewer might be distracted and not be concentrating on the main performance in the scene, then maybe something is wrong if the performance is not strong enough to keep your eyes on it. If you look at some of the true cinema masters, Kubrick, from my memory, everything is in focus, no blurs, but maybe I'm wrong in thinking this. I think stuff, backgrounds being out of focus, is just an easy way for cinematographers to get quicker set ups, and get the point across easier with less creativity, anyway, that's just my thoughts on it, good luck, keep up the good work.
![Depth of Field Explained: Ultimate Guide to Camera Focus [Shot List Ep. 4]](http://i.ytimg.com/vi/ZGNUqNFfD8M/mqdefault.jpg)
Try Audiio using my link audiio.com/alexzarfati and get 70% off year 1 of Audiio Pro. Discount code ‘zarfati70’
My Filmmaking Course: www.featurefilmmaker.co/
Join our Whatsapp Community: chat.whatsapp.com/D8lwCli7YBw...
This video was graded with my cinema Luts: www.alexzarfati.com/luts
My favorite lens: amzn.to/3CCR7X1
My Favorite Light: amzn.to/44kYvke
My Camera Bodies Ursa 12K amzn.to/3AyXpnT
Bmpcc 6K Pro amzn.to/3TuW7Do
My Lenses
Sigma lens 24-70mm amzn.to/4433N4a
Sigma lens 50mm amzn.to/3CCR7X1
Sigma lens 24mm amzn.to/3RmYl5R
Sigma lens 50-100mm amzn.to/3PTUpIF
My Drone Mavic Pro 3 amzn.to/3RFP3nU
My Audio Gear Rode NTG3 amzn.to/3RHWefc
Cheaper Lav System amzn.to/3zjaB3y
Better Lav System amzn.to/4evX1Kh
Zoom Recorder amzn.to/3CHmC2q
Patch Cable amzn.to/3R4a1uy
Get this for Rodelink lav set amzn.to/3pSyO8H
Boom Pole Holder amzn.to/45GGr6h
Boom Pole clamp amzn.to/3wFwoy8
Best on Camera Monitor amzn.to/3RF1mkg
Feelworld Monitor amzn.to/3PZLa9C
SDI Cable amzn.to/3R16cWV
HDMI Cable amzn.to/3pVpzoo
My Lights GVM 650B: amzn.to/44kYvke
Amaran 300C amzn.to/4ax1Gtq
Aputure 300D II amzn.to/3RfaXeY
Aputure Mini Lights amzn.to/3RlUDte
Nanlite Projector mount amzn.to/44BAxTd
Aputure light dome amzn.to/3cxC3zs
Aputure light dome Mini amzn.to/3ATJIl1
Tripods and C-stands
Tripod Small rig amzn.to/3Nbf5MJ
Tripod amzn.to/3AtMRXn
Cheap C-stand amzn.to/3PYuYWq
Better C-stand amzn.to/3Rvw4d8
Accessories
Ursa sticky circles for lav amzn.to/3Ax6Iov
Sandbags amzn.to/3e6Fzky
Clamps amzn.to/3QYSZxS
Gaff Tape amzn.to/3wETbdo
Painters Tape amzn.to/3wHAQMN
Tool Set amzn.to/3AwYLQ9
As an Amazon Associate I earn from qualifying purchases #commisionsearned
What many people forget is that all these techniques (the rule of thirds, contrast, shallow depth of field) are just tools. You can find thousands of them online. But the most important thing is intention-the meaning you want to convey through the image. This intention varies from one film to another. The director and the cinematographer are like “visual psychologists”: they don’t just aim for a “cinematic” image, but rather to express the story’s dramatic essence. Without a guiding reason behind each choice, simply aiming for a “cinema look” makes no sense.
What makes each film unique isn’t the technique-which everyone knows-but the intention. It’s the intention that brings subtlety, something tutorials can’t teach. You develop this sensitivity by studying all kinds of works (paintings, films, books) and by exploring different artistic languages. It’s this ability to draw from various sources that allows you to create images that are truly moving and authentic.
Also, it’s important to clarify that the director is not the cinematographer, and the cinematographer is not the director. These are two completely different professions. Wanting to learn both, in my opinion, is somewhat a waste of time, because I believe it’s better to focus on one area. Of course, there can be some value in trying both, but you’ll quickly realize that the more ambitious your projects become, the more you’ll need a team. And in a team, you need to know how to delegate. At some point, you have to make a choice: are you a director?
Being a director isn’t just about technical shot breakdowns or framing-it also involves directing actors and managing a crew. These are aspects of directing that many, many people forget. Then there’s the cinematographer, who collaborates with the lighting crew, the key grip, and even the sound department (since lighting can affect boom shadows). The cinematographer also works with the director to translate their vision. Remember, the cinematographer doesn’t make their own film-they make the director’s film. They bring the director’s vision to life, not their own. And very few tutorials mention this, if at all.
Hey Alex, I've been watching a lot of your videos and I must say, thank you for sharing your knowledge on filmmaking! I've learned so much from the way you apporach lighting, story telling and camera angles, so thank you! Keep up the great work!
That really is amazing to hear, man. Thank you so much for the compliment and I’m glad I could help.🙌🏻
Part of my channel plans are some cinematography videos/shots of the stuff I paint. This information is invaluable ❤ Keep it up!
Great video on depth of field. I was expecting something slightly different based on the title as the #1 method cinematographers use to create depth is lighting, but either way I was not disappointed!
Superb video. It covers so much, so clearly. Thank you.
Awesome information! Tilt Shift lens is cool!!
I legitimately was JUST thinking about depth of field and how to EFFECTIVELY use it to give depth!
That’s AMAZING
Glad this helps
Good video again Alex. I have to admit, I'm not a fan of focus pulls and backgrounds being out of focus, I like everything in focus. My thoughts are, we would not just want a scene in boring blank background, we would want some life, it to look interesting, so if we do have this interesting backdrop, why blur it all out, as then, in my mind it might as well be that blank back drop. If you're worried the viewer might be distracted and not be concentrating on the main performance in the scene, then maybe something is wrong if the performance is not strong enough to keep your eyes on it. If you look at some of the true cinema masters, Kubrick, from my memory, everything is in focus, no blurs, but maybe I'm wrong in thinking this. I think stuff, backgrounds being out of focus, is just an easy way for cinematographers to get quicker set ups, and get the point across easier with less creativity, anyway, that's just my thoughts on it, good luck, keep up the good work.
Thanks!
I love this topic!
59 dollar’s that’s a deal. Great video and thank you for everything.
Was tilt shift lenses also used in the batman(2022)...most of the scenes were weirdly out of focus except for the center character
What up my people!
Whats up my bro .❤
I can't wait til I can afford a bokeh capable camera lens setup!
Bro can u make tutorial like how to place a camera in a scene ,like how to know where to place and when to .i think its caled coverage
@@ak-gi3eu yeah that’s a good idea
Good video, but what is up with your audio quality?
I recorded it on a GARBAGE Microphone 🫣