Asked to carry out a rack focus? Well, the pressure could not be higher. Although it’s important for you to lead the way when it comes to focus, you need to ensure you seize it. Adding to it, you also want to carry out the rack focus considering the right style and accurate speed.
What is Rack Focus or Pulling Focus Technique?
Rack focus or focus pull is one of the great techniques employed often by cinematographers in Hollywood. This is the technique where a subject in a scene (foreground or background) remains in focus. Then the focus progressively changes to another subject in a scene. This technique lets the cinematographer lay a strong and theatrical emphasis on one subject followed by changing the emphasis to another. It’s often considered for those scenes where there’s a dramatic dialog exchange between characters.
Well, I got up close and personal with an expert who explained what rack focusing was all about.
What do you usually hear when people talk about pulling focus? They mention that it’s both an art and a science. When we talk about the art part, it’s the “touch” one puts into pulling focus. Also, it’s got to do with how fast you do it, and how long it lasts.
The science part, on the other hand, is about measuring distances, calculating them on the fly, and being very accurate when it comes to measurements. And that plays a very significant role in terms of rack focusing.
Simply put, rack focus is when there are two subjects in a frame and the focal plane’s shift from one to the other when a shot is in process. When you do that, you’re shifting the focus of the audience as well between the two subjects. It goes without saying that rack focus is a very powerful tool. If truth be told, it happens to be one of the most effective tools that every filmmaker just cannot do without. Speed is a very crucial part of performing a rack focus in the right way.
When it comes to determining the speed of a rack focus, there are three important things to consider, including:
1.Action in a scene,
2.Camera Movement, and
3.Tone of the Scene.
Let’s examine all these scenes one by one for better understanding of rack focus.
Action in a Scene
So the first essential thing to take into account is how action affects the speed of a rack focus.
Do you remember it was about a tennis player going into a baseball batting cage in order to better shots for Andy Roddick’s serve at the Australian Open? I specifically talked about how the tennis player goes into the batting cage and the door shots. And then I had to rack focus from the face of the actor to the door of the cage.
When I took my first few takes, I liteally goofed up. I almost found myself in a state of shock knowing I did not hit my marks. The job was not accomplished then I was so looking forward to. The director, in spite of knowing we were running out of schedule, got ready to move on, and I intervened there and then.
I said, “Josh give me one more take and I assure you there shall be no disappointments.”
I owed a big one to him for having granted me one more take which I did it without fail.
One important thing to take notice of is how the rack focus almost seems invisible. Why is it invisible? Simply because it’s covered by the action. The actor steps in his face is in focus. This is because motion haze you otherwise won’t be able to take notice of that it is out of focus. And by the time it shuts, it is in focus and there you go.
Camera Movement
Now the second most important thing that influences the speed of rack focus is the camera movement.
This shot has gained immense popularity. And it can have either a dolly or steadicam or jib or a crane or some type of camera movement device move a shot along. On spur of moment, something new gets exposed into the frame.
Now there’s a mailbox. You can easily read the name on it. As the dolly is on the move it’s disclosed that there is a man who is walking up to the front door. And that’s how we develop a connection between the man, and supposedly, what’s his name or the mailbox. And if this is not the man we’re looking at, then we’ll find out who “J. Fox” is.
And that’s how the speed of this type of rack focus is determined by the reveal.
Tone of the Scene
Now here comes the final thing - the tone which is going to affect your rack focus. It could be the tone of the story, the tone of the scene, or even of a shot in particular.
Does the scene seem tense? Maybe a quick rack focus is excellent.
Does it happen to be dull? In this case a slow, efficient rack focus might seem more suitable.
If you ask me, I won’t be in a position to offer you any advice on which one is the right choice. This is because it is so coincidental. In fact, it plays so laboriously into the specific object that you are on at the moment.
Well, all I can offer you is - if you do not know naturally - it’s wise to seek an opinion from the DP. I have never come across a situation where I have not known (naturally) how fast to carry out a rack focus. Watching rehearsals without a pause makes me get a feeling through the dialogue what exactly the scene is about. Or, I ask the DP. If you’re a movie buff, you get a feeling of what seems more applicable.
Too quick or too slow? Don’t fret! The DP will perhaps tell you about it.
Conclusion
No doubt pulling focus is undoubtedly the most important duty of the 1st Assistant Camera. A shot can be appealingly illuminated, flawlessly framed, and feature some Oscar-worthy acting, but if it is not in focus, it’ll probably find its way to the cutting room floor. You don’t want this to happen, do you?
What is Rack Focus or Pulling Focus Technique?
Rack focus or focus pull is one of the great techniques employed often by cinematographers in Hollywood. This is the technique where a subject in a scene (foreground or background) remains in focus. Then the focus progressively changes to another subject in a scene. This technique lets the cinematographer lay a strong and theatrical emphasis on one subject followed by changing the emphasis to another. It’s often considered for those scenes where there’s a dramatic dialog exchange between characters.
Well, I got up close and personal with an expert who explained what rack focusing was all about.
What do you usually hear when people talk about pulling focus? They mention that it’s both an art and a science. When we talk about the art part, it’s the “touch” one puts into pulling focus. Also, it’s got to do with how fast you do it, and how long it lasts.
The science part, on the other hand, is about measuring distances, calculating them on the fly, and being very accurate when it comes to measurements. And that plays a very significant role in terms of rack focusing.
Simply put, rack focus is when there are two subjects in a frame and the focal plane’s shift from one to the other when a shot is in process. When you do that, you’re shifting the focus of the audience as well between the two subjects. It goes without saying that rack focus is a very powerful tool. If truth be told, it happens to be one of the most effective tools that every filmmaker just cannot do without. Speed is a very crucial part of performing a rack focus in the right way.
When it comes to determining the speed of a rack focus, there are three important things to consider, including:
1.Action in a scene,
2.Camera Movement, and
3.Tone of the Scene.
Let’s examine all these scenes one by one for better understanding of rack focus.
Action in a Scene
So the first essential thing to take into account is how action affects the speed of a rack focus.
Do you remember it was about a tennis player going into a baseball batting cage in order to better shots for Andy Roddick’s serve at the Australian Open? I specifically talked about how the tennis player goes into the batting cage and the door shots. And then I had to rack focus from the face of the actor to the door of the cage.
When I took my first few takes, I liteally goofed up. I almost found myself in a state of shock knowing I did not hit my marks. The job was not accomplished then I was so looking forward to. The director, in spite of knowing we were running out of schedule, got ready to move on, and I intervened there and then.
I said, “Josh give me one more take and I assure you there shall be no disappointments.”
I owed a big one to him for having granted me one more take which I did it without fail.
One important thing to take notice of is how the rack focus almost seems invisible. Why is it invisible? Simply because it’s covered by the action. The actor steps in his face is in focus. This is because motion haze you otherwise won’t be able to take notice of that it is out of focus. And by the time it shuts, it is in focus and there you go.
Camera Movement
Now the second most important thing that influences the speed of rack focus is the camera movement.
This shot has gained immense popularity. And it can have either a dolly or steadicam or jib or a crane or some type of camera movement device move a shot along. On spur of moment, something new gets exposed into the frame.
Now there’s a mailbox. You can easily read the name on it. As the dolly is on the move it’s disclosed that there is a man who is walking up to the front door. And that’s how we develop a connection between the man, and supposedly, what’s his name or the mailbox. And if this is not the man we’re looking at, then we’ll find out who “J. Fox” is.
And that’s how the speed of this type of rack focus is determined by the reveal.
Tone of the Scene
Now here comes the final thing - the tone which is going to affect your rack focus. It could be the tone of the story, the tone of the scene, or even of a shot in particular.
Does the scene seem tense? Maybe a quick rack focus is excellent.
Does it happen to be dull? In this case a slow, efficient rack focus might seem more suitable.
If you ask me, I won’t be in a position to offer you any advice on which one is the right choice. This is because it is so coincidental. In fact, it plays so laboriously into the specific object that you are on at the moment.
Well, all I can offer you is - if you do not know naturally - it’s wise to seek an opinion from the DP. I have never come across a situation where I have not known (naturally) how fast to carry out a rack focus. Watching rehearsals without a pause makes me get a feeling through the dialogue what exactly the scene is about. Or, I ask the DP. If you’re a movie buff, you get a feeling of what seems more applicable.
Too quick or too slow? Don’t fret! The DP will perhaps tell you about it.
Conclusion
No doubt pulling focus is undoubtedly the most important duty of the 1st Assistant Camera. A shot can be appealingly illuminated, flawlessly framed, and feature some Oscar-worthy acting, but if it is not in focus, it’ll probably find its way to the cutting room floor. You don’t want this to happen, do you?
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