this is actually a trick. this isn't done with the deep focus lens, but rather it was done by shooting the foreground separately. except for the projector room scene, this is actually one of the first shots of the film done. if you notice, she's NOT in focus, but the door is. there's a similar shot in the film, which actually was done with the deep focus lens.
@leofilm Gregg Toland’s composition, of course is a trick, but a trick that plays with depth of field (see Robert Carringer: 'The Making of Citizen Kane', 1985), which were regarded even by Welles as “big fake” (Welles: 'This Is Orson Welles / Orson Welles and Peter Bogdanovich.' , Jonathan Rosenbaum (ed.), 1992, 79).
this is actually a trick. this isn't done with the deep focus lens, but rather it was done by shooting the foreground separately. except for the projector room scene, this is actually one of the first shots of the film done. if you notice, she's NOT in focus, but the door is. there's a similar shot in the film, which actually was done with the deep focus lens.
leofilm 1 month ago
@leofilm Gregg Toland’s composition, of course is a trick, but a trick that plays with depth of field (see Robert Carringer: 'The Making of Citizen Kane', 1985), which were regarded even by Welles as “big fake” (Welles: 'This Is Orson Welles / Orson Welles and Peter Bogdanovich.' , Jonathan Rosenbaum (ed.), 1992, 79).
mikissi 1 month ago