Ever since the Canon 5D MKII took the film world by storm, full-frame film has been one of the most sought-after looks in modern cinematography. But unfortunately, there aren’t many full-frame DSLRs that also have great video capabilities, and arguably the best DSLRs/DSLRs (for video) today are all crop sensors. This dilemma leaves many of us torn between investing in a full-frame camera with poor video capabilities, or investing in a crop-sensor camera (such as an MFT) with better video performance but without the “full-frame look.” In this article I’ll cover what the full frame look is and how we can achieve it on any interchangeable lens camera.
As many of you already know, full frame isn’t actually a standard sensor size for film. Or at least that was the case until the release of the 5D MKII… 35mm still photography cameras have always had a larger film size compared to 35mm cinema cameras, as shown below:
Although the full-frame format was not traditionally intended for use in film, many of us are delighted to be able to capture video using full-frame sensors as it brings a very unique aesthetic to our work and opens up new possibilities Capture images in low light conditions. Still, it’s worth pointing out that when shooting a film, full frame isn’t everything. In fact, APS-C sized sensors (common in cameras like the C300, 7D, etc.) are the closest digital equivalent to real 35mm film negatives, so technically speaking, if you want to keep your 35mm film photography as authentic as possible , you should shoot with an APS-C sensor (which has a crop factor of about 1.6 compared to full frame). Of course, there are other formats that can be cropped further, such as Micro Thirds or Super 16.
In this article I will focus more on the MFT because I happen to be an expert MFT shooter and so do many of the readers on this site. That said, all the same principles and examples I’ll outline in this article also apply to cameras with larger crop factors, such as the Blackmagic Pocket Camera.
Full frame appearance
So what does full frame look like? There are many characteristics to this look, but perhaps the most obvious is the extremely shallow depth of field achievable at wide apertures. If you’re shooting with the 1.4x 50mm lens on a Canon 5D, your depth of field will be so thin that you’ll be able to select focus down to a hair. On a crop sensor camera, the same 1.4 lens will still give you a relatively shallow depth of field, but it won’t be as thin and selective. This is especially true if your subject is shooting close to a wall or background element, as you’ll be able to see where the plane of focus starts to fall off. The full-frame look isn’t just about depth of field, though…
Another important feature of projects shot with full-frame cameras is the abundance of beautiful wide-angle shots. Because a full-frame camera has such a large sensor, a wide-angle lens (such as 18mm) will provide an extremely wide field of view, especially compared to an MFT camera, which provides an equivalent field of view of approximately 36mm on the same lens. Since many of the same popular lenses are often used on full-frame and crop-sensor cameras, the ultra-wide-angle look (not fisheye, just wide-angle) is more common in full-frame imaging, making it another huge feature of the format.
Full-frame cameras also perform well in low-light conditions, as their large sensors are able to capture even the faintest ambient light. This results in many full-frame DPs shooting in conditions not possible with other formats, such as shooting at high ISO under available streetlights. So while it’s not a specific “look”, the idea of ​​shooting using only natural light (even in extremely dark environments) is one most commonly associated with full-frame cameras – at least when it’s done well and images When it does not exist.
Get a full-frame look on a crop sensor
The full frame look is very unique and can certainly be emulated in many ways with a crop sensor camera. There are now lens adapters (like the Metabones SpeedBooster) that can actually take full-frame lenses and make them faster and wider while adapting them to smaller sensors.
The purpose of this article isn’t to discuss the SpeedBooster, though, as many crop-sensor shooters don’t have full-frame glass and may not want to go out and buy a more expensive lens and $500 adapter to try to emulate that look. After all, one of the biggest benefits of shooting with a crop sensor (especially an MFT or smaller sensor) is the choice of cheap, high-quality lenses. So instead of focusing on SpeedBoosters that are more suitable for specific scenarios (such as Nikon DSLR cameras, which have many lenses switched to MFT format), let’s look at some that don’t require the use of a booster.
First, it’s important to remember the three characteristics of full frame I mentioned above: depth of field, wide angle, and low light. All three elements are fully achievable within the constraints of the crop sensor format, just choose the right lenses and use them in the right way.
The most important thing about lenses (if you’re going for the full-frame look) is that they need to be very fast. While you may rarely shoot at F1.4 with a full-frame lens, you may want to shoot frequently at 1.4 on a crop-sensor camera to simulate the extremely shallow depth of field associated with full-frame. Personally, I have made a habit of only buying lenses at F2 or below, unless there are special circumstances. Lower F-number is better, which means lenses like the Rokinon 85mm F1.4 are excellent MFT choices when looking for a larger sensor.
Many of us already have a quick portrait or telephoto lens for our everyday close-ups, but what about that wide-angle lens we mentioned? Well, if you don’t already have a very wide and fast lens, one of the first things you’ll need is the SLR Magic 12mm T1.6 or the recently released Rokinon 12mm f/2.
These lenses will allow you to capture those gorgeous wide-angle panoramas and shoot in very tight spaces, just like you would with a full-frame camera. Whichever wide angle lens you choose to buy, make sure you buy them not only for their focal length but also for their speed, because at some point you’re going to want to shoot at night with them, but you definitely don’t want to have to shoot under street lights with an F4 lens confrontation.
Now we know that getting a more full-frame look is just a matter of choosing the right lens – a fast lens and a wide-angle lens (and fast). But it’s also important to use these lenses in the right way. For example, if you shoot at F8 all the time, there’s no point in having a fast 42.5mm F0.95 Voigtlander. The point of these lenses is that you let in a lot of light and limit the depth of field, so make sure you push them as far away as possible. There are some limitations to this…for example, on the Voigtlander I just mentioned, I usually drop it to 1.2 or 1.4 because I find 0.95 a bit soft, but even then it gives a really nice shallow Depth of field.
Also remember to let in as much light as possible so you don’t have to raise the ISO too high. In good light, there’s no reason you need to shoot at a sensitivity higher than 1600 ISO (especially for narrative films, not documentaries), so make sure your camera isn’t overtaxed. Full frame cameras always look cleaner at high ISO, and one of the biggest drawbacks of crop sensors is the shadow noise that appears when the ISO is pushed too high, so make sure to keep the ISO low and the lens open .
The final point I would make is that you should aim to use a wide angle or telephoto lens rather than a normal focal length lens. The reason is that the full-frame look is usually associated with ultra-wide-angle lenses or shallow depth-of-field close-ups with beautiful bokeh in the background… In order to simulate this look on a crop sensor camera, you need to avoid certain focal lengths. For example, 10mm or 12mm is perfect for your wide angle (on an MFT camera) because it’s roughly equivalent to 20mm or 24mm on a full frame camera. But for closer shots, I recommend lenses from 50mm and above, as they give you a gorgeous, shallow depth of field that’s reminiscent of full frame. You might be wondering about lenses like the 24mm or 35mm (both of which are my two favorite focal lengths, especially the 24mm), but for the “full frame look” these don’t always give you the same Wider or longer lenses work just as well. They tend to give you those medium shots or medium close-ups that look great, but don’t necessarily match the full-frame look itself.
Here are a few stills I shot recently with the GH4, aiming for a full-frame look. The first picture was taken with Nikkor 50mm 1.4 prime, and the second picture was taken with Tokina 11-16 F2.8:
Does full frame really look better?
This is up for debate. Many DSLR-oriented DPs swear by it, but then again, most of Hollywood’s most high-end photography since cameras like the RED Epic and Arri Alexa (not to mention every 35mm film camera ever produced) Instructions may rarely be used to shoot full frame. That said, there is a time and place for the full-frame look. As with any artistic choice, the look needs to fit your story and be consistent with the tone and feel of the project you’re working on, and in many cases, full frame may be the best option. However, there are many situations where it’s not ideal, especially when shooting run-and-gun style projects where it can be difficult to focus due to the unpredictable movement of the subject, so be sure to choose wisely when considering this type of look.
I like to think of the full frame look as just another tool in the tool kit. It’s nice to be able to mimic this look from time to time, but it’s not always suitable for every project. If I had to choose one sensor format to use for every project, it wouldn’t be full frame. Mainly because it doesn’t fit the cinematic form, but also because shooting full frame comes with some caveats. Cameras like the Lumix GH4, which I currently use regularly, far surpass any full-frame camera in terms of video capabilities. I wouldn’t sacrifice 4K internal shooting, 96fps slow motion, focus peaking, or any of the other great advantages of a camera like the GH4 for the full-frame look, especially since I can easily simulate it by using the right lens, the right way. But sometimes, a full-frame look might be the best option for a specific scene or project, in which case there’s a lot that can be done to achieve that aesthetic without actually using a full-frame camera.
For those looking to take the next step and further develop their craft, be sure to check out my A guide to shooting cinematic images with a DSLR.
