Cinematography: Focal Length and Perspective

Source: The Eye of the Filmmaker (电影人之眼)

1. Focal Length Definitions (Super 35 / 135 Full Frame)

Perspective is governed by the distance between the camera and the subject (机位).

Wide-Angle: Exaggerates perspective (“Near is huge, far is tiny”).
Telephoto: Compresses perspective (“Foreground and background sizes are more similar”).

Effect: Increases perceived speed of subjects moving towards or away from the camera (depth).
Example: THX 1138 - The chase scene in the tunnel uses wide-angle lenses close to walls/floor to make the car seem faster by accelerating the movement of depth markers (lines, railings).

Horizontal Speed: Because of the narrow field of view, subjects crossing the frame horizontally appear faster (especially during tracking/panning).
- Example: Run Lola Run - Lateral shots of Lola running use telephoto lenses to make her seem faster than she is.
Depth Stagnation: Perceived speed in the Z-axis (towards/away) is significantly reduced.
- Example: The Graduate - The run before the wedding feels arduous and slow due to space compression.
- Example: Lawrence of Arabia - The mirage of the rider appears almost stationary despite moving, creating tension and suspense.
- Example: The Apartment - Running down a long hallway feels like making no progress, reflecting the character’s internal frustration.

Compression as Maze: Telephoto lenses can turn architecture into an oppressive, maze-like structure.
- Example: Seven - The electricity towers in the finale.
Mental Chaos/Instability: Small camera movements amplified by extreme telephoto focal lengths can create a sense of dizziness or mental distress.
- Example: Terms of Endearment - The background island moves rapidly while the subject stays relatively still, symbolizing internal psychic pain.