Micro Four Thirds cameras, for example, have a crop factor of 2x, which means that the focal length of a lens is effectively doubled when you use it on a Micro Four Thirds camera body. This leads to what is known as the “ crop factor ” - how much of the image would be cropped off when compared to a 35mm film camera. Depending on the size of the camera’s sensor, different lenses may cover more or less of the frame - meaning some of the field of view may be cropped out.
The crop factorģ5mm cameras have been around since the 1930s and we’ve gotten very used to talking about lenses in their relationship to 35mm film, but not all cameras are the same. Does having the mother of the bride in the background help tell your story? Get her in the frame! Does having drunken uncle Bob dancing with a vacuum cleaner? That’s for you to decide. When you look through your camera lens, ask yourself “what is this frame telling the viewer?”Įach element you include should add to your story and things that don’t help the story - and, “We’re in a beautiful place” is a totally legitimate part of a story - crop it out. Beautiful castle in the background? Is your subject a prince? Maybe add it into your framing with a wider lens. Ugly overflowing trash can behind your talent? Crop it out of your framing by using a longer focal length with a narrower field of view. When you look through your camera lens, ask yourself “what is this frame telling the viewer?” Be conscious of what you include and what you leave out.
For more on this, check out this excellent video on understanding and mastering depth of field.
Wide-angle lenses minimize the out of focus areas, and normal and telephoto lenses exaggerate it. The focal length of a lens produces several side effects that can work for or against a director, and one of these is exaggerating the depth of field or the out of focus areas in a frame. Depth of field: lens choice isn’t all about distance Focal length is an important tool used in cinematography. At their simplest, lenses are either “wide” meaning they show a lot of the scene, “normal” meaning things look about the size they do normally, to someone not looking through a camera lens and “telephoto” meaning things farther away look closer. The focal length of the lens will determine the shot’s field of view, or how much of the scene is captured in the frame. They do this, in part, by choosing different focal lengths of lenses to use. In the real world around us, there are three hundred and sixty degrees of information, and it’s the director’s job, along with the cinematographer, to figure out which very few degrees of that vista best help tell the story to the viewer. We’ve got this picture in our minds of a director holding her fingers up in twin L shapes, one inverted, and peering through the box they make, planning how to frame the shot.
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