![]() ![]() If you decide to use autofocus, which some cinematographers do, make sure that you have a defined focus area on your camera so the sensor knows where to prioritize. Change the focal length by selecting a different lens and you might notice that the quality of the bokeh shifts from lens to lens. With these lenses, you can create controlled zoom effects that allow you to rack focus (change the focal point mid-shot), allowing for some wild bokeh shifts. Zoom and telephoto lenses are excellent tools for bokeh. “Bokeh looks really cool, but at the same time, you won’t necessarily get the full image, which can limit options when you edit,” says Dougan. Remember, aggressive bokeh can often be difficult to adjust in editing, so think about editing your footage before you shoot. It can be hard to create these with automatic f-stop adjustments and aperture priority settings, so it helps to go manual with this. ![]() Wide apertures of 1.8 or 1.4 are even better. For really powerful bokeh effects, choose lenses that have an aperture setting of 2.8 or below. It blurs everything else, which allows you to play with bokeh. Aperture is controlled by f-stops, which are the settings that determine the aperture’s width.įor narrow depth of field, place your object closer to the lens or a specific point of focus. This means a lens that has an aperture that can be opened up very wide, which allows for much more light to enter the camera and expose the film or hit a digital sensor. You need a fast lens to create good bokeh effects. You can create compelling blur and bokeh effects with many different types of lenses, but there are some specific guidelines, camera settings, and tricks to know when you’re trying to create beautiful video blurs. And remember, bokeh doesn’t always have to mean a blurry background. Make sure to include them in your storyboard. For example, in many popular sitcoms like The Office, blurring then focusing on a character’s reaction to something ridiculous often drives home the punchline.
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