American cinematographer (Jan-Dec 1961)

DIAGRAM SHOWS a typical photographic routine with two cameras for a TV film production in which the cameras, A and B, are constantly dollied about the set to cover the actors (A) and (B) in a continuous run, but in such a manner that the cameras do not interfere with each other or intrude in each other's field of view at any time. Here, the respective camera assistants must be constantly alert to keep the actors in sharp focus as the distance between cameras and actors change. The assistant rides the dolly along with the camera operator, and effects focus changes by means of the remote control extending from side of camera blimp. settings determined in a pre-shooting dry run of the camera. Where the remote control is employed, the assistant cameraman can work with greater freedom some distance from the camera. The secret of effective follow focus is that it must be accomplished so smoothly that the focus changes are imperceptible on the screen. This requires good judgment plus the ability to move the focus control the exact distance required each time for the focus change. If ineptly done, the focus will go "’out'’ and the take will be ruined. This is understandable when one considers that the focus calibrations on the average lens for near distance are spaced farther apart than for the greater distances preceding the in¬ finity mark. For example, to adjust focus from 2-ft. to 3-ft. requires a substantial rotation of the focusing control on the lens, whereas the adjustment latitude in changing focus from, say, 25-ft. to infinity — particularly on a wide-angle lens — may be almost microscopic. Thus, in photographing a person walk¬ ing away from the camera at a constant pace will require revolving the focusing ring fast, then ease off to slower rotation as subject recedes into the dis¬ tance. Reverse action by the person requires just the opposite handling of the focusing. In either case, sharp focus must not only prevail at the beginning and end of the action or dollv movement, but all the wav in between. Described below are four familiar patterns of ac¬ tion or camera movement which require follow-focus during shooting: 1. The camera dollies about the set and photo¬ graphs either static or moving action. The camera may dolly toward or away from the subject, or it may “track” him from a fixed distance. 2. The camera remains stationary but subject moves toward or away from it during the shot. 3. The camera remains stationary but is panned or tilted, or both, during the take, from one object or subject to another situated at different distances from the camera. TYPICAL CLOSEUP in which each subject is alternately brought into sharp focus to emphasize importance of their respective dialogs. Here the difference in distance from camera of both players is so slight that extremely precise handling of the focusing control is essential to achieve the desired effect. Unless there is a specific reason for alternating focus between two persons in a scene such as this, "split-focus” is employed so both persons register sharply. 4. The camera is stationary and photographs one or more objects in the scene alternating position during the take, thus requiring follow-focus to keep them sharp. (See photo below.) The first example requires utmost smoothness in the dolly movement. It must gradually accelerate, glide with a smooth “floating” action, then decelerate to an almost imperceptible stop. The camera should create the illusion of floating through space, and any Continued On Page 49 JANUARY • 1961 35