Both the Thalia 24mm and the Zeiss Super Speed 25mm will give you almost identical fields of view, but the Zeiss Super Speed requires less light, and has the ability to give you shallower depth of field should you choose to open up to wider apertures. It is very helpful to know a lens’ image circle, because if you know the image circle, you know how large of a sensor a lens can cover. There is a formula to figure it out. There is no single “best” format that is right for every project or situation. digital or film? For example an 18mm lens that could cover the Alexa 65’s sensor and was T1.3 would be absolutely gigantic. When RED went from their original 4K sensor, to a 5K sensor and then a 6K sensor, there was a constant relationship between pixel count and sensor size. The Creative and Technical Differences between Full Frame and S-35. The physical and financial reasons for having all these different sensor sizes might be more obvious than the aesthetic differences that go along them. Considering sensor size is another way to assess the quality of your equipment. Therefore this method of discussing a lens’ coverage could in theory make sense for RED cameras of that time, but it couldn’t be applied to other cameras from other manufacturers. That production also had the budget and crew to support using gear that is bigger, heavier, and slower to set-up. Then why doesn’t someone just design large format lenses that cover the huge Alexa 65 sensor, have a maximum aperture of T1.3, and make focal lengths wider than 24mm? For instance 4K represents roughly 4,000 pixels in the horizontal axis of a 4K image sensor. There are more choices than ever for acquisition format and more sensor sizes are popping up every year. The increasing number of sensor sizes and lens options, has made things more complicated than ever especially with all the lens adapters available and cameras with interchangeable lens mounts. ARRI Alexa 65 on the set of Rogue One: A Star Wars Story. This effect could be interesting for specific styles and scenes, but for most shooting situations, such extremely shallow depth of field could be distracting, and your focus puller would probably quit after the first shoot day. In that scenario, they needed to track down lenses designed to cover Full Frame or larger sensors, and there are more lens options than ever to cover these big sensors. In the images below, you can see that using a 50mm lens on a Super-16 sized sensor gives you an extreme close-up, but with a Full Frame sensor, it’s a medium close-up, even though the distance from camera to subject stays exactly the same. This lens was orginally designed to cover Super-16mm film. This effect of a single focal length producing different fields of view with different sensor sizes is some times referred to as “crop factor.”. Shooting on a camera with a Super-35 sized sensor like a Canon C300, Sony FS7, or an ARRI Alexa Classic with a 50mm prime lens gives us a specific field of view. Then the producer says, “I was able to get a great deal on ARRI/Zeiss Ultra Primes!” That’s great news for their budget, but if the DP doesn’t know the right information about those lenses, or doesn’t do research or doesn’t test them out before the shoot, he or she will find out the hard way that those lenses were not designed to cover Full Frame, and the DP will have to use the “center crop” feature on the a7S II, and now that project has to be recorded at Super-35, 1920 x 1080, which is not what the director wanted. The sensor size of mobile camera phones is variable in size but a 1/2.55″ sensor (used by the iPhone 11) is on the larger end of the spectrum.. 1-inch camera sensors are the next size up and are used in most compact cameras. I say “roughly” since a common “4K” resolution is actually 3840 x 2160 pixels, and there are multiple pixel counts that are accepted as “4K.” In still photography digital cameras, pixel count is often measured in “megapixels.” One megapixel = 1 million pixels. For smaller, compact cameras they're given in fractions of an inch (1/N inch format). Blog That same 50mm lens has a narrower field of view of about 30.67° on the smaller DX sensor. But opting out of some of these cookies may have an effect on your browsing experience. Will you be in a low-light situation? These are literally measurements of the physical size of film used to capture the images (in this article, I won’t dive into exactly how the film is measured and what direction it passes in front of the camera). There is also practicality to think about. Do you need primes, zooms, or both? However for a run-and-gun documentary, shooting on a smaller format like Super-16, or a comparable digital format like shooting 2K “center crop” on a Sony F55, shooting 2K on a RED Epic Dragon, or using a Blackmagic Pocket Cinema Camera, can result in a smaller, lighter camera, smaller lenses, typically faster lenses that need less light, cheaper rentals and possibly even a smaller crew, needing less set-up time. If a lens was designed for Super-35 and APS-C (which are very close in size), it will successfully cover the sensors of Super-35, APS-C as well as smaller sensors like Micro Four Thirds and Super-16. The only difference is each lens’ image circle and therefore how much of the room you are able to see.

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