If you’re not familiar with math, buckle up, you’re in for a ride. The same applies if we switch to the Pocket 4K – we would have an even smaller portion of 18,99mm, the size of the Pocket 4K sensor itself. There is no magnification going on here, we’re just looking at a smaller piece of the same ruler. We can check the number of mm from the ruler in the frame and we’ll see that the ratio is still 1:1 since we’re getting 22mm, the size of the Pocket 6K sensor. What is happening is that we are taking a smaller portion of the same image. If you think about it, that means that the image is not zoomed in. We will have a smaller sensible area on the right and a respective smaller projection of the ruler. Now, let’s suppose we’re dealing with a smaller sensor like the one on the Pocket 6K. In the image below, we can see the area highlighted in yellow on the right, and that is the 16:9 sensor, while on the left, there’s the recorded image itself. ![]() That is actually the ratio of still photography and that means that we can cut a bit of the sensor, considering an area of 22,25 x 36mm. ![]() The image we are considering in the above example is captured with 16:9 ratio, not 3:2. This is where things start to get interesting. And, in fact, that’s exactly what happens. That means that a macro lens on a 35mm sensor recording a ruler in front of it will capture 35mm of the ruler, being that the 1:1 ratio. In a nutshell, a macro lens is a lens capable of reproducing an object at its real size on the sensor, in a 1:1 ratio. Let’s start with some definitions, like macro lens. Using a ruler and a macro lens, Gerald explains the crop factor with simple graphics, making it easy to understand also to those who are not very familiar with the concepts involved. The idea covered in the video is quite clever. Now, Gerald Undone will try to shed a light on the use of focal reducers, macro lenses, and smaller, or “ cropped” sensors in an attempt to put things into perspective once and for all. ![]() Needing to explain the FOV of the lens to most folks who had used lenses on 35mm sensors, the concept of crop factor was introduced and the misunderstanding got even worse. So when manufacturers finally got to that size, it was advertised as the “full-frame sensor“, and the great misunderstanding began. What happened is that at the beginning of digital photography no one could make a sensor of the same size as the photographic 35mm film, a format never used in video. What was an advertising stunt from the photographic world, in time was accepted as normal lingo for all the filmmakers that approached the video production universe after the so-called DSLR revolution.īefore that, DPs simply spoke a different language: 16mm, Super 16, Super 35 were all common terms, and in the digital age we got 1/3″ CCDs and similar CMOS sensors. This may seem the rant of an old-timer, but bear with me and you’ll see that there’s some truth to that. It implies that other sizes are not, in fact, full. The term itself of a full-frame sensor is somehow misleading IMHO.
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