For instance 1920 x 1080 is the standard pixel count for HD cameras. The difference in filed of view is extreme, if you are using a camera with an even smaller Super-16 size sensor like the one in a Blackmagic Pocket Cinema Camera versus the huge Full Frame sensor of a camera like the Sony A7S II. 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? 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. Today with digital cameras, we have more formats than ever: 1/2”, 2/3″, Micro Four Thirds, Super-35, DX, APS-C, Full Frame, Vista Vision, etc. However, more than ever we need to make sure to consider all the variables before deciding which format is best for a given project. Since the Ursa Mini Pro performs better at lower ISOs, you decide that you need lenses that can open up to T2 at least, but T1.4 would be even better. So as amazing and beautiful as the Leica Thalia lenses are on an Alexa 65, they might not be the best choice for projects using smaller sensors. There are more tools than ever available to filmmakers, and it’s up to you to figure out which ones are the best for your project. 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. So to get roughly the same field of view on your Nikon D810, use a 35mm lens. For film, resolution is the term used to describe how much detail can be resolved usually measured in line pairs (lines per mm or lines per inch). To add to the confusion it has become popular to measure a lens’ coverage (image circle) in “Ks.” To say a lens “covers” 4K, 6K, 8K, is flawed. For instance in order for a lens to cover the entire sensor of a Full Frame camera like a Canon 5D or the Sony Venice, it would need an image circle with a diameter of 43mm. Connecting a lens tube behind the lens will move the lens farther away from the camera’s film plane or digital sensor, which allows the lens to focus much closer than … Read more, Introduction Film making has always had ‘pinch points’ of innovation, some of them more successful than others and in recent history more often than not driven by the retail thrust … Read more, Your email address will not be published. The diameter of the image circle is measured in mm. The next time you go camera shopping, remember that the sensor size is a major feature. and has a maximum aperture of f1.7…wow. Another challenge in designing these ultimate lenses would be cost. Save my name, email, and website in this browser for the next time I comment. These three 25mm lenses were designed to cover different sensor sizes, but because they were all designed to at least cover a Super-16 sized sensor, they give us virtually identical shots. JP Morgan and Kenneth Merrill over at The Slanted Lens have put together an in-depth sensor size comparison that will … We simply crop the circular image into rectangular shapes with various aspect ratios. For example photographers and videographers accustomed to the field of view they see when looking through a 50mm lens mounted on a Full Frame Nikon D810 (“FX” format in Nikon speak) might wonder what equivalent focal length will give them the same field of view on a Nikon D500 which has a smaller “DX” format sensor (which is similar in size to APS-C and Super-35 sized sensors). We are now abbreviating these numbers by using “Ks” (2K, 4K, 6K, 8K etc.). With small formats like 2/3” or Super-16, you have more depth of field. The size of the woman’s face, the geometry of the room, and the depth of field are the same with all three 50mm lenses. [VMI Note:  Celere FF primes and Sigma FF primes are consistently T1.5 throughout their 18-85mm range]. 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. Necessary cookies are absolutely essential for the website to function properly. These cookies do not store any personal information. The individual glass elements would be enormous and would be difficult to match the tolerances achievable with smaller format high-speed lenses. They were designed to cover Super-35mm film, so they can’t cover larger formats like Full Frame or Alexa 65, but they can be used on any smaller formats, like Micro Four Thirds, Super-16, 2/3” etc. However, it more than likely will not cover larger sensors like the ones in Full Frame cameras, and even larger sensors like the one in the ARRI Alexa 65. In the examples below, you can see how three 25mm lenses designed for different formats, shot on a camera with a Super-16mm sized sensor, at the same T-stop will produce images that have the same field of view, the same magnification, and the same depth of field. The most obvious difference between smaller formats and larger formats is depth of field. It is mandatory to procure user consent prior to running these cookies on your website. The factor is still 1.5x. However most lenses can’t cover formats larger than the one they were intended to cover ( there are a few exceptions including some high-speed lenses and some primes with longer focal lengths as a result of their specific optical designs). Required fields are marked *. The difference between the two is how much of the world they are able to see and project onto a camera’s sensor. A director might say, “I really want to shoot this project in 4K and Full Frame.” So the DP lines up a rental for a Sony a7S II, which shoots Full Frame at 4K. Read our. These lenses can be used on the giant image sensor found in the ARRI Alexa 65. 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. A particular lens will give different fields of view if it’s used with cameras with differing sensor size. Since you need wider and wider focal lengths to get a wider field of view on smaller formats, the resulting images tend to feel flatter or more compressed. So as the number of pixels grew, so did the size of the sensor. There are more choices than ever for acquisition format and more sensor sizes are popping up every year. By that I mean a 50mm lens designed to cover a camera that shoots 16mm film, “sees” the world in the same way as a 50mm lens designed to cover a Full Frame digital camera. There are many formats to choose from. Physics is one of the big reasons why we will likely never see a lens set like that. Since you probably don’t have a 33mm lens, using a 35mm prime lens on a DX format Nikon camera like the D500 will give you roughly the same field of view as a 50mm on your Full Frame Nikon D810. After RED released their Helium sensor, it couldn’t even be applied to RED cameras any more! If you happen to own Super-16 prime lenses you will be able to use them for Super-16 film and similarly sized sensors, and any format smaller than that (8mm film, 2/3”, or on many of the “cropped sensor” formats available on cameras like the ARRI Amira, Canon C300 MKII, Sony F5, F55, FS7, Panasonic Varicam LT and pretty much any RED camera). A lens projects a circular image, not rectangular. That same 50mm lens has a narrower field of view of about 30.67° on the smaller DX sensor. For digital sensors, according to international standards, it’s accepted to use the term “Number of Recorded Pixels” or “Number of Effective Pixels.” This is the number of individual pixels on a given sensor that contribute to the final image.