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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Red One 4.5K WS Lens Crop factor Question

Wow, I did not realize the RED has the crop factor of the 7d as the best case. That means I'm going to need another lens. My 25mm is going to be 37-40mm. And I hate those fisheye bulby lens once you get down to too low of a number.
 
I don't know you guys, but it bugs me when a super 35mm sized sensor is perceived as cropped.
This size has been the standard in filmmaking for a long time. IMHO there's no crop on 4K on the One, Scarlet or Epic.
 
I think the main idea is for people working with Full frame sensors to have an idea of what is needed with a S35 sensor.
I had this problem with Super16mm shooting when using Nikon 35MM lenses.
If you put a 50mm lens on a S16mm camera you are in for a wakeup call.
It does not give a 50mm FOV. You would need a 15mm for that.

So maybe it is just lack of terminology on our part. But it gives us a way to relate to what we know.

We can argue all day, but it is just how some people relate to the changes between film size and sensor size.

So it is only for reference for us not use to shooting in S35 format.

I can't wait for my Red to arrive. I have a massive set of lenses, Scheops and Neumann mics, Rycotes, Sound Devices mixer, the list goes on and on.. All being used with DSLR's.

Now they will be used with a Red. I am way too excited.
 
Daniel Stilling said:
I don't know you guys, but it bugs me when a super 35mm sized sensor is perceived as cropped.
This size has been the standard in filmmaking for a long time. IMHO there's no crop on 4K on the One, Scarlet or Epic.
Click to expand...


This whole crop factor thing came about with DSLR marketing. In the early days of digital 35mm SLR cameras, it was too expensive and yields were too low to make a full frame 35mm camera. Or at least it was if you didn't want to spend HUGE money on something rather proprietary. The trend continued much longer than it should have and we ran into APS-C or Nikon DX formats (which are basically the same -- 24mm wide) and then APS-H and some other oddball sizes. Camera makers and a lot of people started talking in crop factors and then they overcomplicate things by trying to relate focal lengths to crop factors and it confuses people. At one point, about 7 years ago, it got out of hand there briefly when some lens makers actually marked some lenses with 35mm equivalent focal lengths instead of actual numbers. WTF? The point and shoot camera makers still pull that crap, again, WTF?

Anyway, as Daniel points out, this size has been the standard for "35mm" filmmaking for a long, long time. The RED One in 4K mode is 22.12mm wide -- the same width as 35mm Academy Format. In 4.5K WS, it's 24.19mm wide, or effectively the same width as Super35mm full aperture.
 
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