1/18/2024 0 Comments Super 35 vs full frame bokeh![]() ![]() Large format cinema is an astounding achievement. This is because vintage lenses have smaller image circles and are more likely to be compatible with only Super 35 sensors. Similarly, another downside of large format sensors is that it is more difficult to use vintage lenses. Mismatching lenses and sensors lead to black circles fringing the image or extreme cropping. For example, a Super-35 lens can perfectly cover a Super-35 sensor, but when tried out a large format sensor, it will most likely be unable to cover the image circle. There is also the consideration that some lenses cannot cover large formats. Similarly, shooting large format could require more time on set and a higher post-production budget, since larger resolution means more data to be handled.īeyond the simple cost comparison, there are the limitations that come with shooting drastically larger images. Large format cinema lenses especially can be expensive. This is the most straightforward advantage to choosing S35, as your selection of compatible camera systems and cinema lenses are vastly expanded, with generally lower rental rates. Shooting with large format is significantly more expensive than shooting Super 35. Watch below to see how DPs should anticipate framing challenges when choosing between large format and Super 35:īENEFITS OF SHOOTING WITH SUPER 35 SENSORS In the video below, DP Mark Bone tests the effects of sensor size on a lens' angle of view. In order to maintain the same relative size of a framed subject after upping the sensor size, a cinematographer will have to get close to the subject or increase the focal length, both of which lead to a smaller depth of field. ![]() When sensor size increase, the same cinema lens will produce a slightly wider angle of view. It’s often said that large format sensors produce a smaller depth of field, but this is a misconception. Large format sensors also produce less noise within the image because the sensor has a larger number of photosites. Larger pixel count also gives you more leeway to reframe compositions or stabilize the image in postproduction. This change means larger images, which mean more detail. Large format sensors shoot more pixels than Super 35, giving you a higher resolution image than a Super 35 sensor would produce. The question, however, is if the extra capabilities are worth the budget hike. In terms of hard technical capabilities, large format can do more than its Super 35 counterpart. There are plenty of digital cameras capable of shooting large format in 2022, such as:īENEFITS OF SHOOTING WITH LARGE FORMAT SENSORS Examples of large formats include 70mm, 65mm, Imax and past formats like Cinerama and Vistavision. In practicable terms, most cinematographers consider all sensors larger than Super35 to be large format capable. ![]() ![]() There is no strict definition, but large format sensors are generally considered larger than full-frame, which is 36x24mm. Large format shooting began accelerating in the early 2000s, when DSLRs became full-frame capable-and the trend has only strengthened since.Īt this point, Super 35 and large format have become the standards of the film industry. Large format cinema has been around for decades, but it’s become more widespread since the Digital Revolution hit Hollywood. ![]()
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