500+ years ago, Leonardo DaVinci pioneered the Sfumato technique, which changed the art world forever.

In Italian, Sfumato means “to evaporate like smoke.” And that was the effect DaVinci was going for on the canvas.

He used innovative methods to soften outlines, blur edges, and create a hazy effect on the boundaries of subjects.

While other artists were still painting with hard lines, DaVinci knew the key to great (and more naturalistic) art was to ensure there were no visible edge lines.

The most obvious and widely known application of the Sfumato technique can be found on DaVinci’s Mona Lisa – known for her captivating smile that feels incredibly lifelike, as if in motion.

This is a direct result of blurry, obscured edges and a lack of harsh lines.

When you look at the painting, your brain has to fill in the gaps. And depending on where you’re looking, the lighting, and the distance to the painting, it will appear slightly different every time.

The best art leaves room for the viewer to become a participant in the experience. And in effect, to complete the piece of art themselves.

So how exactly does this apply to filmmaking?

For one, most cinematographers are already applying their own version of Sfumato techniques. Without ever consciously realizing it.

Soft lighting, hazers, pro mist filters, vintage lenses, and countless other tools are used to soften and blur images. These tactics have become increasingly popular in the era of extremely high resolution video.

And after so much experimentation, filmmakers still prefer to shoot at 24 frames per second. Even though higher frame rates are now easily shootable and supposedly deliver a more “realistic” look.

It’s not about technical realism though, it’s about the effect on the viewer. And at 24 frames per second, there is much more motion blur and softness in the shots, which adds a level of Sfumato.

Less obviously, but perhaps more importantly, Sfumato principles should be thought of in the context of story and writing.

The best screenplays leave room for the audience to play a part in the narrative. Whether by leaving gaps in the plot that the viewer must fill in, embracing more ambiguous characters, or using subtextual dialogue that allows the audience to make their own interpretations.

No great screenplay has ever been written that does not leave something to the imagination. They all give the viewer the ability to interpret themes, narrative, and characters on their own terms.

The key to Sfumato however (both in fine art and cinema) is to balance it with clarity to avoid confusing or obscuring the message.

The Mona Lisa still looks like a realistic portrait. It is not abstract. Yet the subtle details that are left to the imagination are what elevate it to the timeless masterpiece that it is.

In filmmaking, this balance is achieved by embracing a focused narrative with clear themes and coherent story elements. But within those boundaries, looking for opportunities to incorporate ambiguity so that the audience becomes actively engaged.

So as you embark on your next project, remember: It’s often what you don’t show that makes the biggest impact.

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