SHARING | Lenses II by Justin
Focal Length and Storytelling in Film
I’m continuing my series on lenses, but this time, I want to shift away from the technical details and focus on something more engaging: focal length and how it drives the story in films. Previously, we delved into the numbers and types of lenses, which, while important, can get pretty technical and, dare I say, a bit boring for some. Today, I want to talk about the emotional and narrative impact of different focal lengths and how they influence what you, as a viewer, feel.
Focal Length
So, what exactly is focal length? Simply put, it’s the distance between the lens and the camera sensor. The further apart they are, the further you can see. Conversely, the closer they are, the wider your field of view. Focal lengths can range from as wide as 6 millimeters, which gives you that distinctive fish-eye look, to as long as 1200 millimeters or more, which brings distant subjects up close. In photography, focal lengths can go up to 3000 millimeters, but in cinema, it’s a bit different.
In films, the focal length represents the viewer’s eye, not just in terms of what they see, but also in how they perceive the scene. It’s not just about numbers; it’s about how these numbers translate into the viewer’s experience and emotions. How close or far you are from the subject, how much of the background is visible or blurred out—these factors all play a role in storytelling.
To break it down, let’s look at three main types of focal lengths: wide angle, medium, and close-up.
Wide-angle lenses typically range from 6 to 35 millimeters. These are great for establishing shots where you want to show the environment around your subject. They give a broad view, often with some distortion, which can add a unique feel to the scene. For instance, Wong Kar-wai’s "Fallen Angels" uses extreme wide angles, including fish-eye lenses, to create a sense of separation and isolation for his characters. This distortion isn’t just a technical choice; it’s a storytelling tool that makes the characters feel like they’re in their own worlds, disconnected from reality.
At medium focal lengths, which range from 30 to 70 millimeters, we find what many call the “sweet spot.” This range is the closest to what the human eye sees and is often used for conversational shots. It makes the viewer feel like they’re right there in the scene, participating in the conversation. In "The Godfather," for example, Francis Ford Coppola uses medium close-ups to create a sense of intimacy and intensity in the dialogues, making the audience feel like they’re part of the discussion. This approach is also used in films like "Oppenheimer," where dialogue-heavy scenes benefit from the immersive feeling that medium focal lengths provide.
Close-up lenses, ranging from 75 millimeters and above, are used to isolate the subject from the background. This technique is powerful for highlighting emotions and drawing the viewer’s attention solely to the character’s face or specific details. It’s often used in intense moments when the director wants you to focus on the protagonist’s emotional state, blocking out any distractions from the background.
Now, you might think that these rules are set in stone, but that’s where the creativity of filmmaking comes into play. Directors and cinematographers often break these traditional rules to achieve specific effects. For example, using a wide-angle lens for a close-up can create a distorted, unsettling look, suggesting that the character is experiencing something extraordinary or even sinister. In contrast, using a long lens for an establishing shot can compress the background and make it feel closer to the subject, adding tension and intimacy to the scene.
An example is from "The Godfather," where a 135-millimeter lens is used for a close-up, bringing the background closer and making the character feel more powerful and dominant in the frame. This technique draws the viewer’s focus intensely on the character, emphasizing their importance and the gravity of the moment.
In Wong Kar-wai’s "Fallen Angels," the use of a super fish-eye lens creates a surreal, almost dreamlike quality, making the characters appear as if they’re floating in their own isolated reality. This choice of lens helps to convey the characters' emotional states and their separation from the world around them.
The key takeaway here is that focal lengths are not just technical choices; they are deeply intertwined with the emotional and narrative fabric of the film. Directors and cinematographers use them to guide your emotions, to make you feel a certain way, and to tell the story visually. While there are general guidelines, the most impactful scenes often come from breaking these rules thoughtfully and purposefully.
In conclusion, understanding and experimenting with focal lengths can significantly enhance storytelling in film. It’s not just about the numbers or the technical specifications; it’s about what you want the audience to feel and experience. By choosing the right focal length, you can immerse your viewers in the story, making them feel like they’re right there with the characters, experiencing every moment firsthand.
Signing Off,
Justin
This entry was initially an internal sharing session condensed and summarised by ChatGPT.