Re: FS100 vs VG10 sensor size

cheezweezl said:
the marketing terminology may be confusing but i assure you that S35 has a real and definite meaning. it comes from FILM, not video. as in, the size of the film plane when referring to a motion picture film camera. the motion picture film is 35mm just like the stuff that runs thru your still camera. why is there a difference between full frame (still) 35mm and S35? because the film runs thru a still camera from side to side and it runs through a motion picture camera up and down. this means a bigger plane for stills on the same 35mm film.

so to end the confusion. 5D = full frame 35mm (still camera full frame) FS100 = S35 (motion picture camera full frame) if you know this stuff then the marketing BS is simply just that...
Click to expand...

Thanks for clarifying really appreciate it. Wish I had an old school camera/camcorder to play with.
 
cheezweezl said:
the marketing terminology may be confusing but i assure you that S35 has a real and definite meaning. it comes from FILM, not video. as in, the size of the film plane when referring to a motion picture film camera. the motion picture film is 35mm just like the stuff that runs thru your still camera. why is there a difference between full frame (still) 35mm and S35? because the film runs thru a still camera from side to side and it runs through a motion picture camera up and down. this means a bigger plane for stills on the same 35mm film.

so to end the confusion. 5D = full frame 35mm (still camera full frame) FS100 = S35 (motion picture camera full frame) if you know this stuff then the marketing BS is simply just that...
Click to expand...

So having said that, how is the S35 enforced within the industry? For instance the Red Epic has a larger than standard S35 sensor. What is ensuring interoperability between cameras and theaters? Post production?
 
nothing old school about it.

still TONS of movies, TV, commercials, music videos, etc. shooting on film every day. the digital revolution is just beginning in the high end world. why, because film has huge dynamic range and wonderfully forgiving falloff.

the red mx and arri alexa are really the first cameras that are enough like film to start to convert the die-hard film guys.

if you really want to learn about film cams and how they work, go hang out at panavision. tell them you want to learn. they'll show you a thing or two...
 
ectobuilder said:
So having said that, how is the S35 enforced within the industry? For instance the Red Epic has a larger than standard S35 sensor. What is ensuring interoperability between cameras and theaters? Post production?
Click to expand...

it's not like a hard and fast government regulated spec. S35, in marketing terms means roughly the size of the super 35mm film plane. a millimeter or two difference isn't really going to change your life. Just know that S35 is not FF35 is not M4/3 is not 2/3" etc.

Sensor size has nothing to do with capture resolution. My EX1 with a 1/2" sensor records in the exact same format and resolution as the F3.

And yes, post is the bridge between capture and delivery. If you are going to digital projection at 4k, 2k or 1080hd, then you conform your final output to that format. remember, there have been theatrical releases that originated on DV, standard def, 1/3" chip, 720x480. they were blown up and printed to film. most looked like garbage but it IS possible.
 
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