1DC: 1DC/1DX II are now Large Format cameras!

[jcs]

Full frame sensors shooting video are now Large Format according to ARRI, haha! https://www.arri.com/largeformat/ (36.70mm x 25.54mm (Open Gate), works with FF lenses).

Perhaps Canon will join the fun with a new "Large Format" Cx00 with a full frame sensor (at least 36mm x 20.25mm (16:9))?

In the meantime, we can enjoy shooting Large Format video with the 1DX II. Thanks for the free upgrade ARRI, lol!

 

[DPStewart]

For a massive global industry where S35 has been the overwhelmingly dominant image size for many decades, anything larger is correctly labeled Large Format.

 

[Imamacuser]

Well full frame is about the size of VistaVison, so I guess Arri can say call it large format since its bigger than Super 35, however, I always thought of 70mm as large format. The Alexa 65 and Alexa LF's use of parallel sensors is reminiscent of Cinerama.

 

[jcs]

For a massive global industry where S35 has been the overwhelmingly dominant image size for many decades, anything larger is correctly labeled Large Format.

Large Format is typically 102mm x 127mm (4"x5") or larger. Full Frame, Medium Format, and Large Format are traditional terms for still cameras. The "Crop" concept was developed in the still world to help understand how lenses will look on smaller sensors relative to FF. As Imamacuser noted, VistaVision was the name used for something similar to Full Frame. Thus if ARRI wants to use a still camera term for cinema, MF makes sense, LF does not. Since the LF sensor is about 2mm diagonal larger than FF, calling it MF would makes sense (it's really an FF sensor since it works with FF lenses). The ARRI 65 is rightly named an MF sensor (uses MF Hasselblad lenses). So it's nuts to call the much smaller LF (FF + 2mm diagonal) sensor Large Format!

Much like ALEXA 65, ALEXA LF images are truly immersive, heightening emotion and intensifying character with an intimate, three-dimensional feel that draws the viewer in further.

Large-format aesthetic with ALEXA image quality

ARRI is also spreading the format-size myth: remember the crop vs. FF debates? There's no such thing as FF, MF, or LF "look" or "aesthetic". You guys know I love ARRI for color/DR/look, however this LF marketing is not honest and is misleading. Larger sensors simply make it easier to get shallower DOF, that's it! FF is popular given the vast array of wide aperture lenses available. In one of the online FF/MF "look" debates, Brian Caldwell (designer of the Speed Booster) stated that there is no advantage to MF lenses and sensor size over FF, so there is no point in creating an MF to FF Speed Booster. In ARRI's case, they can leverage the ALEV III sensor tech by making bigger sensors to get to 4K and beyond. The pixels size and tech doesn't change, and neither does the look. The only difference between shooting on the Super35 Alexa with an FF lens and comparing to the Alexa LF with the same lens is shallower DOF capability, that's it! If ARRI would like to send me an Alexa SXT Plus, Alexa LF, and LPL (FF) lenses to perform real-world tests proving this fact using Equivalence mathematics, I'd be happy to help them out!

Format/sensor size by itself providing any special aesthetic or look is a myth: https://www.google.com/search?q=full+frame+look+myth&oq=full+frame+look+myth It's the sensor + lens combinations providing available looks and shallow DOF/Bokeh-behavior.

 

[jcs]

Sony calls its Venice Full Frame: https://pro.sony.com/bbsc/ssr/show-...ions.bbsccms-assets-show-highend-Venice.shtml

In full-frame, you can use the full 6048 pixel width of the sensor for widescreen spherical 2.39:1 or Large Format Scope. Full-Frame can be used creatively in a number of ways – for example, to allow for extra shallow depth of field or super-wide shooting.

Haven't yet found a historical reference to Large Format Scope at 36mm width, though I found CinemaScope55, with a 55mm width: https://en.wikipedia.org/wiki/CinemaScope#CinemaScope_55 . Might be easier / more honest / more clear to include the sensor width (mm) in the product description:

e.g. Sony Venice 36 (FF), Alexa 37 (FF), Red Monstro 41 (MF), Alexa 65 54 (MF).

To Sony's credit, they refer to the Venice as a Full Frame camera, and honestly state the improved shallow DOF and wide angle capabilities vs. intangible myths.

Canon could easily make a C900 with a FF sensor and DPAF to compete in this space (ideally 5.7K or more, downsampled to 4K). Might as well take full advantage of all that FF Canon glass.

 

[NorBro]

We'll probably see a 1DX Mark III with FF 4K at some point.

 

[indiawilds]

You will get a full frame sensor in C700. Just wait and watch.

PS: I have a 1DXII but it doesn't shoot 4K in full frame mode.

 

[jcs]

You will get a full frame sensor in C700. Just wait and watch.

PS: I have a 1DXII but it doesn't shoot 4K in full frame mode.

Full frame 4K C700 would be cool, especially with DPAF and a 5.7K (or more) sensor (downsampled to 4K)!

For medium to close up shots, FF 1080p on the 1DX II works pretty well for us. When upscaled to 4K, noise grained and sharpened (in that order- important), cuts well with native 4K (online target). It would be cool if PP CC provided conditional sharpening, e.g don't sharpen if already high frequency present (above a threshold), and don't sharpen highlights (perhaps possible with Qualifiers in Resolve, etc.). For wides, post sharpening can only do so much; more actual resolution is sometimes needed.