Introduction
In filmmaking, everything starts with frames, the fundamental units of visual storytelling. Frames combine to form shots, shots combine into scenes, and scenes form sequences, all working together to create the complete film. The rate at which frames appear and the shape they form on the screen—the frame rate and aspect ratio—are technical choices with significant influence over how a story feels to the audience. This article will explore these concepts in depth, showing how understanding frame rates and aspect ratios allows filmmakers to shape their audience’s experience.
1. The Building Block: Frames and Frame Rates
What is a Frame?
A frame is a single still image in a sequence of many, and these images are shown in rapid succession to create the illusion of movement. In cinema, a frame acts as a snapshot, freezing moments of time that, when played together, become moving images that carry the story forward.
Frame Rates Explained
The frame rate, measured in frames per second (FPS), determines the speed at which these images are shown. Different frame rates create varied effects:
24 FPS is the standard for most films. It’s called the “cinematic frame rate” because it closely mimics how our eyes perceive continuous motion, while still feeling slightly “removed,” creating a sense of detachment that feels cinematic.
30 FPS is popular for television. It creates a slightly smoother look than 24 FPS, which has become associated with video content and television shows.
60 FPS and higher frame rates are often used for sports broadcasts or fast-action scenes, giving ultra-smooth motion clarity.
Example: Director Peter Jackson’s decision to shoot The Hobbit in 48 FPS polarized audiences. While it created highly detailed and lifelike scenes, many viewers felt it broke the traditional cinematic look, feeling almost “too real.”
Frame Rates and Artistic Intent
Filmmakers use frame rates strategically to evoke specific emotional responses. For example, slow-motion scenes, typically shot in 48 FPS or higher and then played at 24 FPS, allow the audience to feel every detail and emotional beat.
Example: Christopher Nolan’s Inception uses varying frame rates to create tension in dream sequences, giving an ethereal, slowed-down quality that enhances the suspense and drama.
2. Aspect Ratios and the Cinematic Canvas
Defining Aspect Ratio
Aspect ratio is the relationship between the width and height of the frame. This choice influences both the composition of each shot and how the story visually unfolds. Aspect ratios create a visual framework that guides the viewer’s eye, helping convey emotions and setting the stage for a particular kind of experience.
Common Aspect Ratios in Film
4:3 (1.33:1): Once the standard in early cinema, this “boxy” ratio has a retro feel and is sometimes used to focus on a single character or create a more intimate, constrained experience.
16:9 (1.78:1): This widescreen ratio is standard for HDTV and many digital formats, striking a balance between width and height for a versatile cinematic experience.
2.35:1 or 2.39:1: These widescreen ratios are popular for epics and wide vistas, creating a grand and immersive feel that envelops the viewer.
Example: Wes Anderson’s The Grand Budapest Hotel utilized multiple aspect ratios to signify different time periods, visually indicating shifts in narrative timelines while enhancing the story’s period-specific aesthetic.
Aspect Ratio Descriptions:
1. 6:13 (Modern Smartphone) - Common in recent smartphones with elongated screens for enhanced vertical viewing.
2. 9:16 (Mid-Late 2010s Smartphone) - Widely used in most modern smartphones, optimized for vertical scrolling.
3. 3:5 (Early 2010s Smartphone) - Prevalent in early smartphones, providing a balanced vertical format.
4. 2:3 (Late 2000s Smartphone) - Typical in older smartphones and some point-and-shoot cameras, taller than it is wide.
5. 1:1 (Square) - Perfect square, used in platforms like Instagram for balanced compositions.
6. 19:16 (Fox Movietone) - Early film aspect ratio with slight widening, creating a unique cinematic feel.
7. 5:4 (Early Television) - Early TV broadcasts, nearly square, common in old CRT monitors.
8. 4:3 (Fullscreen) - Standard television ratio before widescreen, also used in early cinema and projectors.
9. 11:8 (Academy Ratio) - Traditional ratio used in classic Hollywood cinema, close to the 4:3 ratio.
10. Square Root of 2 - Rarely used directly in media, but often found in paper sizes (like A4).
11. 143:100 (IMAX Film) - Slightly taller than widescreen, offering an immersive experience in IMAX theaters.
12. 3:2 (35mm Photographic Film) - Standard for 35mm photography, offering a balanced view with slight width.
13. 14:9 (Middle Ground) - Often used in European television, a middle ground between fullscreen and widescreen.
14. 8:5 (Laptop) - Typical for laptop screens, wider for document work or media viewing.
15. Golden Ratio - Mathematical ratio found in nature and art, aesthetically pleasing but rarely used in screens.
16. 5:3 (European Widescreen) - Used in European cinema, wider than fullscreen but narrower than 16:9.
17. 16:9 (HD Video) - Universal for HD video, offering a broad view without extreme width.
18. 37:20 (American Widescreen) - Slightly wider than 16:9, often used in American cinemas.
19. 19:10 (Digital IMAX) - Used in digital IMAX theaters, providing immersive width.
20. 2:1 (Univisium) - Favored by some directors, providing a broad view between traditional and ultrawide.
21. 11:5 (Super Panavision 70) - Wide for 70mm film, used in epic-scale movies.
22. 64:27 (Consumer Ultrawide) - Modern ultrawide screens for gaming and productivity.
23. 12:5 (Anamorphic Widescreen) - Classic widescreen film ratio, giving a cinematic effect.
24. Silver Ratio - Similar to Golden Ratio but with unique mathematical properties, seldom seen in screens.
25. 69:25 (Ultra Panavision 70) - Very wide 70mm film format, used in some classic epic films.
26. 32:9 (Super Ultrawide) - Extreme ultrawide for immersive gaming or multitasking.
27. 4:1 (Polyvision) - Extremely wide, rarely used outside of special installations or experimental cinma
Impact of Aspect Ratio on Composition
Aspect ratio affects how cinematographers use space. In wider aspect ratios, more of the horizontal environment can be showcased, ideal for landscapes or multi-character compositions. Narrower aspect ratios focus attention, often leading to closer, more confined framings.
Example: David Lean’s Lawrence of Arabia used 2.35:1 to capture the vastness of the desert, evoking a feeling of isolation and scale that enhances the story’s epic scope. Meanwhile, Darren Aronofsky used a narrower 4:3 ratio in The Whale to create a confined, suffocating experience, focusing on the protagonist’s inner struggles.
3. Choosing Frame Rates and Aspect Ratios for Artistic Purposes
The Harmony Between Frame Rate and Aspect Ratio
Frame rate and aspect ratio are most powerful when chosen to enhance each other. A director might use a 24 FPS frame rate with a 2.35:1 aspect ratio for a nostalgic, cinematic quality, while a higher frame rate paired with a 16:9 ratio can bring an ultra-realistic and immediate feel.
Example: Horror films like The Witch have used the narrow 1.66:1 ratio to restrict viewers’ perspective, combined with a 24 FPS frame rate to create an unsettling, claustrophobic experience. In contrast, big action films like Mad Max: Fury Road often use wide aspect ratios with high frame rates in certain sequences, creating an immersive, high-intensity visual experience.
Innovations and Experimentations
Directors often break traditional frame rate or aspect ratio rules to achieve unique effects. Robert Eggers shot The Lighthouse in a 1.19:1 ratio, common in early 20th-century films, to give the film a vintage feel and emphasize the story’s themes of isolation and psychological tension. Other directors, like Ang Lee, have experimented with ultra-high frame rates, pushing 120 FPS for immersive clarity in Billy Lynn’s Long Halftime Walk, attempting to intensify the audience’s connection with the protagonist’s experiences.
4. Technical Considerations: Matching Frame Rates and Aspect Ratios with Display Devices
Frame Rates and Modern Displays
Frame rates vary depending on the medium where the film is viewed. Modern televisions often upscale content to 60 Hz or higher, which can affect the original look of films shot in 24 FPS. Motion smoothing technologies used by TVs to interpolate additional frames can create the controversial “soap opera effect,” making cinematic films look overly smooth.
Example: Many streaming platforms offer settings to toggle motion smoothing on or off, giving viewers control over whether they experience the film in its intended cinematic feel.
Aspect Ratios and Streaming Services
Aspect ratios are carefully adapted on streaming platforms for a consistent viewing experience across various devices, from wide TVs to mobile screens. Some services crop films to fit standard 16:9 formats, while others display “black bars” to preserve the original ratio.
Example: Films like Roma and The Irishman were shot in wider aspect ratios, but streaming platforms offered options to maintain the original ratio or adapt it for screens, ensuring that the director’s vision isn’t compromised for home viewing.
Image source: Wikipedia
Conclusion
Frame rates and aspect ratios, though technical in nature, are powerful tools that allow filmmakers to shape viewers’ emotions and perceptions. These choices, whether sticking to the traditional 24 FPS in a wide aspect ratio or experimenting with newer, unconventional formats, guide how we experience stories and immerse ourselves in the visual world of cinema. For aspiring filmmakers, a deep understanding of these elements enables greater control over the audience’s experience, making them essential skills in the art of storytelling.
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