Doubt about T4i /APC-S Camera Sensor

I

isaaczacarias

hi,

one doubt please.. the APC-S sensor is the same thing as a full frame sensor if i use a 22mm(or near) lens to achieve a 35mm full frame focal lenght ? it would be any difference on the big screen (i really mean the big screen) ? or the only difference is about image quality ?

im asking this because i want my project running on the big screen with a look of a full frame project using rebel t4i.

thanks guys
 
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There's a lot to talk about it here and I'm sure others will chime in but if your goal is to project your film onto a big screen the way films usually do, you need to read up on 2k resolution and 1.85 or 2.39 aspect ratio.

I'll reply in length later if no one has answered by then, I'm writing this short post right now because I have to run.
 
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I'll be honest, I'm kind of tired of all the rage over full-frame cameras. The 35mm film cameras that Hollywood has been using for decades are not full-frame. Full-frame is a photography thing, not a filmmaking thing.

There are many reasons why a camera like the 5D will produce better images than one like the T4i, but I personally don't think the full-frame look is one of them.
 
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Try this simple test:

Shoot something on a T4i on a 50mm lens. Shoot something on a 5D on an 85mm lens. See if you can pick the difference based on the focal length alone.

Full-frame vs APS-C is actually a non-issue. What makes the film look like a film has more to do with everything else inside and outside the camera than sensor size alone.

The Alexa has a smaller sensor than the RED Dragon, and yet people will still use it over the RED Dragon. The Alexa can't record 4k at the moment, and yet people will still use it over the 1Dc or the RED or anything else.

The GH2 and the 5D both resolve 1080p. Yet, there's a reason many will go for the GH2 over the 5D, even though the GH2's sensor is smaller than even the T4i.

It's not all about sensor size - the entire 'crop' thing came about as a way to transition traditional SLR users to the newer DSLRs, so they had a point of reference for their lenses, and would know what their old lenses (and new lenses) would look like on the new cameras. It doesn't really mean anything, certainly nothing to do with specific quality. A larger sensor simply means slightly more light will come in, and there will be an inherently shallower depth of field.

Also, what are your distribution options? Are you sure you need to worry about what it will look like on the big screen..?
 
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Cracker Funk said:
I'll be honest, I'm kind of tired of all the rage over full-frame cameras. The 35mm film cameras that Hollywood has been using for decades are not full-frame. Full-frame is a photography thing, not a filmmaking thing.

There are many reasons why a camera like the 5D will produce better images than one like the T4i, but I personally don't think the full-frame look is one of them.
Click to expand...

Well said. Academy 35, or Super-35, which most Hollywood movies are shot on, is almost exactly the size of APS-C. "Full-frame" is for photography. There are several famous movies shot in Super-16 which is significantly smaller than APS-C! Ever heard of "The Wrestler"?
 
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Image quality will be compromised by the image data compression through the codec.
Sensor size has little (not "nothing", but little) to do with the data dumped into your NLE.

With the greater compression typical of H.264 MPEG 4 AVCHD 4:2:0 the source video will have less resolution than from a camera that can capture in 4:2:2 subsampling.
http://en.wikipedia.org/wiki/Chroma_subsampling

These issues have little to do with sensor size and more to do with the camera's computer program for storing data.

I used to think "bigger was better", but now I'd take a camera with a smaller sensor w/ 4:2:2 subsampling than one with a larger sensor w/ 4:2:0 subsampling, all else being equal.
 
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rayw said:
Image quality will be compromised by the image data compression through the codec.
Sensor size has little (not "nothing", but little) to do with the data dumped into your NLE.

With the greater compression typical of H.264 MPEG 4 AVCHD 4:2:0 the source video will have less resolution than from a camera that can capture in 4:2:2 subsampling.
http://en.wikipedia.org/wiki/Chroma_subsampling

These issues have little to do with sensor size and more to do with the camera's computer program for storing data.

I used to think "bigger was better", but now I'd take a camera with a smaller sensor w/ 4:2:2 subsampling than one with a larger sensor w/ 4:2:0 subsampling, all else being equal.
Click to expand...

rayw,
all ordinary DSLR has this standard compression of 4:2:0 ?
what kind o cameras capture in 4:2:2 and 4:4:4 ?
and what kind of compression is ok for a big screening ?
so is all about how good the camera´s computer is for storage, is that right? if yes, lens are not thaat important as i thought
 
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Google "4:2:2 camera camcorder"

Do your own homework.

baby-eating-from-spoon-007.jpg
 
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