On the other hand, a very large depth of field may make everything from the foreground to infinity acceptably sharp. The smaller the depth of field, the less the subject has to move before they go out of focus, and the blurrier any background and foreground objects appear. Depth of field is the distance between the nearest and farthest points from camera that are in focus. Now that we have some distance from that first novelty of large-sensor cinematography we can think more intelligently about how depth of field – be it shallow or deep – is best used to help tell our stories.įirst, let’s recap the basics. When DSLR video exploded onto the indie filmmaking scene a decade ago, film festivals were soon awash with shorts with ultra-blurry backgrounds. “The Handmaid’s Tale: Offred” (2017, DP: Colin Watkinson, ASC, BSC) (Some examples are given in the graphic above.) It also means that you can multiply your Super-35 T-stop by 1.4 to find the full-frame T-stop to match the depth of field.įor a detailed comparison of Super-35 and full-frame, check out this test by Manuel Luebbers. This means you should multiply your Super-35 focal length by 1.4 to find the lens that will give you the same field of view on a full-frame camera. In the case of full-frame, the crop factor is 1.4. Picture noise will probably be finer and less noticeable due to the photosites being larger and more sensitive.(A Super-35 sensor would crop these imperfections out.) … and you may see more imperfections at the edges of frame where the lens is working harder.… but the depth of field will be shallower….If you increase your focal length to get the same field of view you would have had on Super-35, perspective will be rendered exactly the same as it was on Super-35….(You’ll need to make sure your chosen lenses have a large enough image circle to cover your sensor.) Lenses will have a wider field of view.These are the differences you will notice shooting in large-format versus Super-35: Confusingly, this term does come from still photography, where it is used to identify digital sensors that are the same size as a frame of 35mm stills film: 36x24mm. Full-frame is a subset of large-format.It’s not to be confused with large-format still photography, which uses much bigger sensors/film than any currently existing for moving images. A large-format digital cinema camera is any that has a sensor larger than Super-35. It’s based on an analogue film standard which has its own complex history that I won’t go into here.
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