I feel like you missed out on the fact that in theory you should be able have a larger aperture than F2.8 with the exact same DOF as a super35 sensor. That means more light into the camera, in turn means less gain required from the ISO. Am i correct? That’s a huge selling point IMO.
Hey there - this is always a tricky topic. If you use the same 35mm lens at T2.8 on two separate cameras, one with a Super35 sensor and the other with large format, then the depth of field will be identical, but the LF camera will capture a wider image. If you compensate by using a longer focal length on the LF camera, so that the field of view of both cameras is identical, then the LF camera will have a shallower depth of field at the same T stop due to the longer focal length.
Marc, I love your tech talks, but I think you may be wrong on one point. The only thing that changes visual compression is how far you are from a subject, not the lens you use. if I shoot on a s16 camera like the BMPCC from 1 meter away with a 12mm lens, I will have the exact same visual compression as if I shoot with the Alexa mini from one meter away with a 24mm lens or the Alexa LF from one meter away with a 36mm lens. If you don't believe me, please please test it yourself.
@@h4328 this article is great but it seemed to me It was saying the same as The Outsideworld here. Visual compression is a product of perspective, and perspective just depends on camera placement. The only thing that changes is that some wider lenses could have distortion, and that with a larger sensor you have to use a longer focal lens and smaller aperture to match the field of view and depth of field of smaller sensors.
A video on Arri Alexa 65 please
Good insights, but I kept wanting to see examples during the talk.
I feel like you missed out on the fact that in theory you should be able have a larger aperture than F2.8 with the exact same DOF as a super35 sensor. That means more light into the camera, in turn means less gain required from the ISO. Am i correct? That’s a huge selling point IMO.
Hey there - this is always a tricky topic. If you use the same 35mm lens at T2.8 on two separate cameras, one with a Super35 sensor and the other with large format, then the depth of field will be identical, but the LF camera will capture a wider image. If you compensate by using a longer focal length on the LF camera, so that the field of view of both cameras is identical, then the LF camera will have a shallower depth of field at the same T stop due to the longer focal length.
Oh right, Barry Lyndon by kubrick comes to mind. Thanks for the thorough explanation.
Marc, I love your tech talks, but I think you may be wrong on one point. The only thing that changes visual compression is how far you are from a subject, not the lens you use. if I shoot on a s16 camera like the BMPCC from 1 meter away with a 12mm lens, I will have the exact same visual compression as if I shoot with the Alexa mini from one meter away with a 24mm lens or the Alexa LF from one meter away with a 36mm lens. If you don't believe me, please please test it yourself.
Not if T-stop remains constant - check out Steve's explanation www.yedlin.net/170504.html
@@h4328 this article is great but it seemed to me It was saying the same as The Outsideworld here. Visual compression is a product of perspective, and perspective just depends on camera placement. The only thing that changes is that some wider lenses could have distortion, and that with a larger sensor you have to use a longer focal lens and smaller aperture to match the field of view and depth of field of smaller sensors.