Full Frame: A new paintbrush

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In the past few years, camera and lens manufacturers have been unleashing on the world an array of full frame cameras and optics. Cinematographer Jon Chema was excited to be at the forefront of creatives trying out this ‘new paintbrush’.

Sensor size is yet another tool in the cinematographers tool belt for storytelling. For me personally, I equate full frame to medium format photography. The larger sensor size offers images that are more visceral and immersive. The images have more of a 3d feel to them. An added benefit of the larger sensor size is that longer focal lengths offer a wider field of view with less distortion. This can be especially helpful when photographing faces and portraits. The image is also inherently cleaner as the physics of the sensor allow for larger photosites. This to me translates to glossier smoother images with less noise/grain. Depth of field is also much shallower at deeper stops. However, these two factors can be a downside to the format. If the visuals don’t dictate clean visuals, shooting full frame can give you a look that is “too clean” and polished. Same with depth of field. If I’m, for example, photographing on location overlooking a beautiful background I want to see that background, therefore a deeper depth of field may be the solution. Unfortunately, that is more difficult to achieve at faster stops. The super shallow depth of field factor can also be hell for focus pullers and can slow down your shoot day with blown takes, additional time needed for marks, and more expensive rental equipment such as the Lightranger. The added amount of data can also make post more difficult and time consuming. On set, this translates to longer media ingest times and additional hard drive space requirements. All that to say it’s great to have additional options as a cinematographer and full frame is certainly a great canvas to have in your arsenal. 

Written by Jon Chema