Closest focusing distance of a lens. Standard lenses: 25–120 cm; macro lenses: 15–30 cm; cine lenses typically require greater distances than photo lenses.
Standard lenses have typical minimum focus distances ranging from 25cm (50mm f/1.4) to 120cm (300mm f/2.8). Macro lenses achieve values of 15-30cm at reproduction ratios up to 1:1. The limiting factor is mechanical construction: the focus ring can only move lens groups to a certain point. Cine lenses often have greater minimum focus distances than photo lenses of the same focal length, as they are optimized for continuous focus adjustment. Anamorphic lenses, due to their complex optics, usually exhibit minimum focus distances between 90cm and 2m.
The first film lenses of the 1920s had minimum focus distances of several meters. In 1930, Leitz introduced a minimum focus of 100cm for the first time with the Summar 50mm f/2. Zeiss developed the Biotar 58mm f/2 with a 45cm minimum focus distance in 1936. In the 1960s, improved mechanics and lubricants enabled significantly shorter distances. Modern lenses use internal focusing, which prevents the lens from extending and allows for more precise minimum focus distances.
Close-ups and detail shots require short minimum focus distances. Kubrick used the Zeiss Planar 50mm f/0.7 with a 60cm minimum focus for the candlelight scenes in "Barry Lyndon" (1975). Wes Anderson frequently works with macro lenses for his characteristic object details. In dialogue scenes with 85mm or 100mm lenses, the minimum focus distance of 80-100cm limits camera positioning. Diopters (close-up filters) mathematically reduce the effective minimum focus distance: a +1 diopter halves the distance, a +2 diopter thirds it.
Macro lenses overcome limitations through specialized optics and floating elements. Extension tubes shorten the minimum focus distance by their own length but eliminate infinity focus. Achromatic diopters preserve optical quality better than simple close-up filters. Focus breathing describes the change in focal length when focusing and often correlates with the minimum focus distance: lenses with short minimum focus distances typically exhibit more pronounced breathing.
Ich plane meine Einstellungsgrößen immer um die Naheinstellgrenze herum - bei einem 85mm mit 85cm minimaler Distanz kann ich keine extremen Close-ups fahren, ohne auf Diopter oder Zwischenringe zu wechseln. Für Fokus-Pulls zu nahen Objekten teste ich vorher die exakten Distanzen mit dem Maßband, damit der Follow Focus Operator präzise Markierungen setzen kann.
Die Naheinstellgrenze bestimmt, wie intim ich mit meinen Schauspielern werden kann - für emotionale Wendepunkte brauche ich oft extreme Nähe zu Gesichtern oder Händen. Wenn das Standard-Objektiv nicht nah genug rangehen kann, ändert das meine gesamte Blocking-Strategie und zwingt mich zu alternativen visuellen Lösungen für die gewünschte emotionale Wirkung.
Zusätzliche Diopter oder Makroobjektive kosten 200-800€ Miete pro Drehtag und verlängern den Objektivwechsel um 3-5 Minuten pro Setup. Bei 40 Setups täglich summiert sich das zu 2-3 verlorenen Stunden - ich kalkuliere daher spezielle Nah-Einstellungen als separate Kostenpositionen und plane entsprechende Zeitpuffer in den Drehplan ein.
1. Was beschreibt „Naheinstellgrenze" am besten?
2. Zu welchem Department gehört „Naheinstellgrenze"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.