So calling some thing crop or FF in the video world isn't really applicable. Hybrid cameras sure, but dedicated video cameras no. Keep in mind that the video world doesn't do 4x3 sensors for the most part. But I'm a producer, not a Cinematographer. I'm imagining an 8K, FF, RF cinema camera with fully functional Zeiss Master Primes. Full Frame at 36mm, like the R5, is about halfway between Super 35 and 70mm. It seems to me that filmmakers in the 1970s would all have moved to 70mm if it hadn't been too expensive. And it'd be simple to mount Canon Cinema Primes on the RF mount with an adapter. Most of Zeiss' cinema lenses cover full frame sensors. Since Samyang/Rokinon make RF lenses I have to assume there are details/costs that Zeiss doesn't like.
SUPER 35 VS FULL FRAME LICENSE
When I spoke to the Zeiss rep at a trade show he said they were waiting for Canon to license the mount. They like to stay close to 6 on their high end so seeing around 3 is different for themI agree that there are not any good cinema lenses in the RF mount.yet. I will say the pixel pitch seems quite small for canon. This could be a c700 replacement and then would be a ef mount. The rf mount is nice but the lenses are not good for cinema. It’s easier to pull focus and have more in focus on s35. Super 35 cameras do not have vignetting when shot wide open with full frame glass, there is typically less rolling shutter when not using a global shutter, DOF is typically not a massive issue in cinema. They like to stay close to 6 on their high end so seeing around 3 is different for them The advantages of a RF-mount cinema camera with a full frame sensor that captures 8K at 60fps (or even 120fps) are many.īy the way, is there any indication as to whether or not this camera will have a RF mount?Super 35 cameras do not have vignetting when shot wide open with full frame glass, there is typically less rolling shutter when not using a global shutter, DOF is typically not a massive issue in cinema. So why stay with a sensor that emulates film.
SUPER 35 VS FULL FRAME PRO
My question - why does canon seem to be stuck on Super 35 sensors? I'd bet that more than half the Pro cinematographers 'out there' have never shot film. Especially since Canon's own promotional materials referred to the R5 as a "B camera" in a filmmaking environment. I agree, the R5 can't remain the only Canon camera that shoots 8K for long.
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