To best try to answer this question, I first reached out to Stray Angel Films, an amazing equipment rental, and production services company on Santa Monica Blvd. But is there a “best” lens or focal length for shooting a movie? Are some brands and focal lengths more common than others? Some directors even prefer a single focal length so much that they shoot an entire film with a single lens. The most famous directors and cinematographers develop signature styles using specific techniques and equipment, including camera lenses and focal lengths. PLEASE READ THE FULL DISCLOSURE FOR MORE INFO. "I" IN THIS CASE MEANS THE OWNER OF FILMDAFT.COM. THIS POST MAY CONTAIN AFFILIATE LINKS, MEANING, AT NO ADDITIONAL COST TO YOU, I EARN FROM QUALIFYING PURCHASES. If a lens to shoot this image in a single shot existed, it would make Sigma's massive 105mm Art lens look like a cheap pancake.DISCLOSURE: AS AN AMAZON ASSOCIATE I EARN FROM QUALIFYING PURCHASES. Just like the full frame equivalent 35 mm f/ 0.47 lens - nothing like this exists because it would be too big, heavy and expensive to manufacture into a commercially viable product. Thus it has emulated a sensor size somewhere between Medium and Large Format, whilst retaining the super fast 135 mm f/ 1.8 lens characteristic, projected to a larger image circle. we use the same multiplication, b ut on the sensor size instead - multiply each dimension of the full frame dimensions ( 24 x 36 mm) by 3.86, which = 93 x 139 mm. The 75 mm entrance pupil remains, but the image circle of the lens expands along with the sensor size. The alternative way to see equivalency is to view it as the sensor being the thing that grows. This also confirms the above calculation. The first example can also be worked out using the method from the 1st example ( by how much larger the final stitch is compared to a single image ). The panorama (above) can be calculate one of two ways:Ī 35 mm f/ 0.47 lens on a 24 x 36 mm sensorĪ 135 mm f/ 1.8 lens on a 93 x 139 mm sensor *** Gerald Undone has a great video about "entrance pupils" here *** It's image is magnified by the lenses front elements and most often wouldn't physically fit where it's supposed to be. It determines how much light comes in, so it's important, but it's not how big the aperture is physically. * The entrance pupil is the optical view of the aperture diaphragm as seen through the front elements of the lens. Equivalency demonstrates how different sensor sizes show a lense s entrance pupil doe s not change: T he entrance pupil can be worked out by dividing the focal length by the f-stop. So when equivalency chang es the focal length value (to refer to angle) the f-stop has to change proportionately to it. F-stop is simply a fraction of the focal length that describes the size* of th e entrance pupil. It does not mean to suggest that the focal length ( distance between the sensor a nd entrance pupil ) ac tually changes. If we say that a 50 mm f/ 1.4 becomes 75 mm f/ 2.1 on an APS-C sensor camera ( 1.5x crop ) it refers to how it performs compared to full frame, in a language that most people can understand. Let's start by covering how equivalency is used with smaller sensors.
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