However, higher resolution doesn’t always mean better. A higher pixel pitch creates a greater distance between the pixels and a lower resolution. The smaller the pitch, the higher the pixel density which yields a higher resolution. If you’re unfamiliar with pixel pitch, it’s the distance between pixels measured from the center of one pixel to the center of the next. For Canon, he says, “Larger sensors means more real estate, which means we can maintain our optimal pixel pitch but still gain in overall resolution.” Field Applications Engineer at Canon USA, created a test using the Canon C700 FF and two lens focal lengths to show us. It begs the question, what kind of image results do these two formats produce?
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Both sensors are based on the size of 35mm film but full format is traditionally larger than Super 35. When it comes to choosing between Super 35 and full format, there’s a lot that can affect the cinematography process. When it comes to choosing between Super 35 and full format, there’s a lot that can affect the cinematography process.Īnd YES, there will always be exceptions when you can’t choose, such as Netflix’s current 4K mandate, your budget sucks, you’re poor, etc. Well, maybe one: Don’t have shitty sound. Mix aspect ratios, mix resolutions, mix primes and zooms, mix anamorphic and spherical, mix film and digital. It doesn’t have to be one format throughout the entire process. WHY do we want a shallow depth of field? WHY do we need Steadicam at this moment? WHY do we need this framing?ĭefine your story. Each project should have its own look and its own resonating visual grammar.Īs a director, cinematographer, camera operator, and producer, don’t choose a look because it’s “what Sven Nykvist, Freddie Young, Roger Deakins or what any other cinematographer out there has done." Ask yourself WHY you should choose a certain camera, lens or resolution. recording a higher resolution like 4K so you can “punch in” or “reframe” during post when you’re delivering in HD or shooting RAW to maximize dynamic range for the color grade. It doesn’t have to be one format throughout the entire process.įormat, resolution, color bit depth, frame rate, lenses and camera type are all tools to tell story. These are cameras with sensors approximately 36mm x 24mm, though they may be slightly larger or smaller (but below 65mm).ĭiscussions are shifting towards topics like,: “What’s the difference between Super 35 and full frame?” and “Which one should I use?” The latter has a simpler answer: Neither one is right or wrong. What we’re seeing today is the industry moving towards larger full frame sensors, or what we like to refer to as full format emerge. This is the battle of super 35 vs full frame. We’ve seen our share of formats over the decades-Kinetoscope, Cinerama, Cinemascope, Ultra Panavision 70, IMAX-but out of all of them, Super 35 is probably the most popular among filmmakers since its debut in the early 1980s.
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