Welles used a lot of depth in his shots, allowing the actors to move freely on the sets, allowing them to produce entire scenes uninterrupted by editing. Barsam says, “Previous directors had used deep-focus cinematography in a limited way to achieve limited results, but Welles’s achievement overshadowed all of those efforts. No longer would audienceses see actors working chiefly in the foreground; now they moved easily from fore- to background.” (2016) Today depth in pictures is extremely common; it is rarer to not have a lot of it. Even in editing and sound Welles challenged Hollywood conventions, such as editing the flashback scenes and recording most of the sound on set with hiding
Welles used a lot of depth in his shots, allowing the actors to move freely on the sets, allowing them to produce entire scenes uninterrupted by editing. Barsam says, “Previous directors had used deep-focus cinematography in a limited way to achieve limited results, but Welles’s achievement overshadowed all of those efforts. No longer would audienceses see actors working chiefly in the foreground; now they moved easily from fore- to background.” (2016) Today depth in pictures is extremely common; it is rarer to not have a lot of it. Even in editing and sound Welles challenged Hollywood conventions, such as editing the flashback scenes and recording most of the sound on set with hiding