Be careful not to overdo this though, because one of the giveaways of DSLR footage today is footage that has too much of a shallow DOF. So for instance if you are shooting on a 50mm lens at f1.4, your image will have a more selective focus than the same lens at f8. The more wide open you are on your lens, the shallower the DOF. And fast lenses (for example lenses that are F2.8 or lower) will also help out with achieving this look. Longer lenses will always give you a shallower DOF than wider lenses. The other variable to consider is your lens choice. The larger your sensor, the shallower your DOF will be, so a Canon 5D for instance would have a shallower DOF than a Lumix GH3 as the sensor on the 5D is larger. For starters, DSLR’s or any other interchangeable lens cameras are typically quite good at achieving this look. With that said, the majority of feature films today utilize a shallow DOF on many shots, and if you want to get that look you’re going to need a camera and lens that can achieve it. Ultimately DOF is a stylistic choice that you have to make based on the look you want to achieve with your film. One of these films is arguably the best film of all time, Citizen Kane, which has some of the deepest DOF shots I have seen to date – In fact, since the early days of cinema there have been many films that used deep depth of field to their advantage as well. While I do agree that being able to achieve shallow DOF is necessary, it’s not by any means the most important variable on this list. Take a look at the photo below and note the areas in focus and those that are out of focus, drawing your eye in to the important part of the frame – Traditionally, feature films have made use of a shallow depth of field to selectively focus the attention on a person or object. For those of you that are new to this, DOF refers to the amount of the image that is in focus. Many new filmmakers think that having a shallow Depth Of Field (DOF) is the single most important element in achieving a film look, hence the popularity of DSLR’s and other interchangeable lens cameras. And keep in mind, while any of these suggestions will help out on their own, it’s really only when they are all used together that you can achieve a film look. ![]() There are a number of key variables that you need to get right in order to get the most filmic looking footage when shooting digital, and below I’m going to break down the more important elements that you should take into account. The truth is that there is not one single thing that you can do that will magically make your footage look like it was shot on film. I’m often asked “which digital camera will look the most like film?”, or “how do I color grade my footage to look filmic?”. One of the most common goals for filmmakers and DP’s today is achieving a film look when shooting on video.
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