Plus, there are other variations, such as the Canon EOS 5D Mark II and EOS 1D X (even bigger sensors) and the Panasonic AF100 (Micro Four Thirds format). That list has just grown to include the brand new Canon EOS C300 and the RED SCARLET-X. Some examples are the RED One, RED EPIC, ARRI ALEXA, Sony F65, Sony F35, Sony F3 and Canon 7D among others. This means it’s of a dimension comparable to a frame of 3-perf 35MM motion picture film. Typically these use a so-called Super 35MM-sized sensor. Quite a few large-sensor cameras have entered the market in the past few years. If your target format is HD, you will get similar results – as it relates to these optical characteristics – regardless of whether you use a RED, an ARRI ALEXA or an HDSLR. Even if you work with a camera today that doesn’t provide a 4K output, you are still gaining the benefits of this engineering. Because larger sensors require a different selection of lenses for equivalent focal lengths compared with standard 2/3-inch video cameras, a shallower depth of field is easier to achieve and thus makes these cameras the preferred creative tool. Larger sensors don’t inherently create shallow depth of field and out-of-focus backgrounds. Depth of field is a function of aperture and focal length. The biggest visual attraction to large-sensor cameras appears to be the optical characteristics they offer – namely a shallower depth of field (DoF). RED has shown with EPIC that it is possible to have both.
Larger pixels yield more stops and smaller pixels give you more resolution, but that’s not an absolute. There is a very loose correlation between actual pixel size, resolution and sensitivity.
One manufacturer might use fewer, but larger photosites, while another might use more pixels of a smaller size that are more densely packed. Three measurements come into play: the actual dimensions, the maximum area of light-receiving pixels (photosites) and the actual output size of recorded frames. A RED EPIC and a Canon 7D use similarly sized sensors, but the resulting pixels are quite different. Although different sensors may be of a similar physical dimension, they don’t all use the same number of pixels. Camera manufacturers have adopted larger sensors to emulate the look of film for characteristics such as resolution, optics and dynamic range. For now though, most distribution is still predominantly 1920 x 1080 HD or a slightly larger 2K film size.
Even YouTube offers some 4K content, so larger-than-HD production, post and distribution has quickly gone from the lab to reality.
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The same system that can display two full bandwidth 2K signals can also be used to project a single 4K image. Thanks to the latest interest in stereo 3D films, 4K-capable projection systems have been installed in many theaters. The DCP standard is a “container” specification, which means the 2.40:1 or 1.85:1 film aspects are fit within these dimensions and the difference padded with black pixels. Most displays use the Quad HD standard of 3840 x 2160 (a multiple of 1920 x 1080) while the Digital Cinema Projection standard is 4096 x 2160 for 4K and 2048 x 1080 for 2K. The RED One and EPIC use several different frame sizes. For example, full aperture film 4K is 4096 x 3112 pixels, while academy aperture 4K is 3656 x 2664. There is no single 4K size, since it varies with how it is used and the related aspect ratio. In the proper used of the term, 4K only refers to frame dimensions, although it is frequently and incorrectly used as an expression of visual resolution or perceived sharpness. The concept stems from 35mm film post, where the digital scan of a film frame at 4K is considered full resolution and a 2K scan to be half resolution. Ever since the launch of RED Digital Cinema, 4K imagery has become an industry buzzword.
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