Thank you all. That's pretty much what I already had in mind, though I
look forward to looking at the Renoir tipped above. Simply because of
its frequent mentioning, and the repeated emphasis on the significance
of the employment of deep focus, I feared I had missed out on
something more … I don't know what even. More elaborate in some way.
Of course Deleuze conceptualizes it further, as I guess more others
do, but I'm relieved to realize that in terms of the elementary 'thing
itself' – if such a phrase can be applied to anything cinematic – it's
just that. More information crammed in less time, and ways to exploit
that possibility. But please keep on posting if you want to correct
that phrasing or add anything to it.
H.
On Mon, Jan 24, 2011 at 6:57 PM, Doug vanderHoof <[log in to unmask]> wrote:
> Mavens,
> Without checking any references at the moment, I have the clear memory of
> reading that Welles also used what may have been a new toy, the split focus
> lens. There's a half of the lens that has a certain focus distance and the
> other half focuses at a different distance. You disguise the line through
> the middle of the image by placing it on a line in the composition or some
> other way so it's not noticeable.
>
> Does this ring a bell with anyone a little more steeped in tech?
>
> Cordially,
>
> Doug
>
>
>
>
> Cordially,
> Doug
>
> Doug vanderHoof
> Producer, modern media
> 773-394-0029
> Bucktown, Chicago+Seattle
>
> Litigation media: http://Modern-media.com
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>
> Skype: dvanderhoof
> Personal blog: Tellingdetails.blogspot.com
>
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