However, it is also extremely subjective. They are very clean and just like the Sumere Prime, each lens weight between 1 and 1.4kg and a 114mm front element diameter. The best online film school for serious filmmakers. Introduces New Cine-Servo 25-250mm T2.95-3.95 Cinema Lens Available in Both EF and PL Mount Superb Combination of Focal Range, Compact Size and Light Weight Makes it Ideal for a Range of Broadcast and Cinema Productions MELVILLE, NY, April 20, 2020 – Canon U.S.A. Inc., a leader in digital imaging solutions today announced the CINE … The Canon C500 Mk II uses the same sensor as the Canon C700 FF, built into a versatile, modular compact form factor camcorder which is shorter than the C300 Mk II and body weighting just 1.75kg (without battery). Canon’s new full-frame Sumire primes provide a “characterful” alternative to standard CN-E primes. Indeed when the jump from 35mm to Super 35mm occurred, lots of lenses including Zeiss SuperSpeeds or Speed Panchros for example had (have) an exit circle that doesn’t quite cover that new bigger box – see right.. Full frame therefore needs a big circle which is why we need FF lenses to cover but just as with aspect ratio we need a quick de-bunk before we move on. The bigger circle is transmitting a greater quantity of light rays from around the edge of the field of view which is why the image appears wider than on the Super 35mm version. All lenses produce an upside down circle of light containing an image of what is in front of them and that image via a set of precise mounts and distances falls onto the sensor. It records on-board Cinema RAW Light which is an efficient codec capable of recording up to 40 minutes of 12bit images (with 15 stops of dynamic range) on to a single internal 512GB CF Express card (same form factor as XQD cards). T1.8 throughout the range and offered in PL and LPL mount. Cooke S4i Anamorphic 2x (25mm, 40mm, 75mm, 100mm) Cine Lens Set At wider apertures, Sumires soften the image with reduced microcontrast (while retaining core sharpness), so that skintones are smoothed and a more filmic rendering is … The choice right lens for the specific shot is key and this article aims to explain the differences between Close Up, Macro and Micro photography/cinematography and in particular, to introduce the cinematographer to a relatively recent new type of lens, which are called Nelsonian Lenses made by Infinity Photo-Optical and which use microscope techniques to create unique images which are not possible using traditional optics. Both Super 35mm and Full Frame are not new terms or concepts in fact they are older than most of us and both are derived from film terms. There’s just no way to gauge image quality without testing a lens yourself. This is a brief overview of HDR technology for TV updated in 2020. Optics Leitz R Super Speed Primes; Leitz Summicron-C Primes; Schneider Xenon FF-Primes; Sigma High-Speed FF Primes; Sony CineAlta Primes; Tokina Cinema Vista Primes Film making has always had ‘pinch points’ of innovation, some of them more successful than others and in recent history more often than not driven by the retail thrust to sell more TVs- HD, 3D etc. The ‘Super’ in Super 35mm refers simply to the removal of the soundtrack safety zone and an optical re-centre to the middle of the piece of film. These are probably the best lenses as far as this comparison is concerned. As far as the low end is concerned, nothing beats the value of the Tokina Vista Primes (not interested in the ONE though). Our experience is that much of the stigma about shooting with DSLR lenses has disappeared, as camera operators and cinemtagraphers appreciate the performance and convenience of using DSLR lenses in production. Cooke S2 Speed Panchro 5 lens Prime Set. Canon U.S.A. They’re really amazing for faces and sunlight, more like a Cooke than anything under $10k. Exposure was set by using false colour to get the mid grey of a Kodak Grey Scale Plus to show green. It can be used in a cut-down format to make it suitable for gimbal and drone use or instead can be built up into a fully-featured shoulder-mounted camera complete with full ARRI kit and professional viewfinder. The ARRI Signature Primes are presently the only lenses fully telecentric by design. The point of this is that the horizontal dimension increased (more pixels) so ‘for a given aspect ratio’ the physical area used was increased and therefore the quality of the image was greater as more of the vertical could be utilised. There are 5 focal lengths in the set covering 18.5-85mm. 12 lenses in the entire set (12-150mm) though only 11 available at time of writing. The Sigma Primes have unacceptable levels of breathing in my opinion. However the depth of field of both shots will be identical. Cooke Panchro Classic T2.2 (18mm, 25mm, 32mm, 50mm, 75mm) Cooke Panchro Classic 100mm . Canon’s first modern film lens, the Canon CN-E prime lenses are designed to cover Full Frame and achieve a constant maximum aperture of T1.5. K35; CNE; Sumire; Cooke. These lenses are custom designed and not rehoused like some other brands. 11-blade iris, which is probably enough (Master Primes have only 9). There are 2 lenses in the set with the wide zoom covering 28-100mm and the long zoom covering 28-100mm. They have a lot of character and whilst these lenses are lightweight (each lens weight between 1 and 1.4kg), these are housed in Canon CN-E housings with a a 114mm front element diameter and what we cosider to be a fussy focus scale. They are fully manual with no AF function and VMI provides ‘clicked’ and ‘unclicked’ versions with fully manual iris and focus rings. See the example on the right – the focal lengths of the lenses used in both shots are both 50mm but the 50mm in Full Frame appears to have a much wider field of view due to the larger sensor. Ursa Min Pro G1 v G2 After an initial quick test I have taken my time and reset and calibrated both cameras and made sure that they have the latest firmware. The ‘you had one job’ bit of this for the lens is that the circle has to be big enough to cover the box it is sending an image to and if the circle is not big enough then you will end up with vignetting or a circular shadowing around your image. The creative arguments for using FF should maybe start with most obvious and technical. It will turn the Alpha 4K into a beam projector or a spacelight. There are PL-mount full frame cinema cameras, like RED Monstro 8K VV 3. If you are using a larger sensor then you will be acquiring images beyond the VoD 4K benchmark, so for example. Sigma make a 24-35mm T2.2 FF Cine High-Speed Zoom Lens which is a full frame zoom incorporating a native Canon EF mount and is a completely new design from the previous DSLR optical range with new optics, new mechanics and genuine film housing with clear focus scale marked in feet. The Sigma Classic Prime lenses are presently only stocked by VMI in PL format and these are compatible with Cooke/i data. The Monstro sensor is 40.96×21.60mm (1.9:1 aspect) and is at 8K resolution in this format. ^For the 50mm lens in the lineup. Canon Sumire Lenses. The potential downside is as usual with shallow depth of field in that there will be a struggle to hold onto focus. Other variations to note are the Alexa 65 which is based on a sensor size emulating 65mm film travelling North-South and IMAX which emulates 65mm travelling East- West, both of which are therefore postcard size pictures. This is why I’ll probably consider both. Ironically 1DC captures 4K with APS-H crop CP3; CZ; Supreme; Digital Cinematography Cameras 2018. Goes all the way to 280mm, so Arri is fully committed to this line. And so the most commonly used aspect ratio (that of our TVs) is 16:9 (1.78:1) but it can be used on any size sensor from 2/3rds size chain cameras up to Alexa 65mm and IMAX-which is a massive postcard size picture (or frame) compared to the B4 cameras but importantly the aspect ratio is exactly the same. Canon Lens Meishō & Meister 42-43; Fugu in Utsunomiya 44; Sumire Primes and Prime Burgers at Flora Bar 45; Blackmagic RAW 46; New Blackmagic URSA Mini Pro 4.6K G2 with Blackmagic RAW 47-49; LEITZ PRIME& LEITZ ZOOM Debut 50-52; Dr. Aurelian Dodoc on LEITZ PRIME Design 53-57; LEITZ PRIME lenses in LA and Charcoal Venice 58-59; LEITZ PRIME at T1.8 and at Mélisse 60-61; Shot on Cooke 62-63; Stephen Murphy Shot Moonstone on Cooke … Like the C700 FF, it can be provided with a PL or EF mount and the EF dual pixel auto focus capability is very good indeed and it will record 5.9K in FF or 4K images in 16:9 or anamorphic formats. *For about four lenses in the kit, typically 24 to 85mm. The Sony FX-9 is a 6K camera (not the same sensor as the Sony Venice) which covers Full Frame (36mmx24mm) and Super-35. HS; Baltar; Zeiss. Supplied with EF mount adapters for compatibility with EF mount cameras. We all love to see images of extreme magnification to show a world which we can’t experience with our own eyes but just like all cinematography, this is hard to do well. However, lenses designed to shoot stills won’t offer the same specification as hand-built film lenses:  Stills lenses won’t have the build quality, the degree of focus latitude (often the focus barrels will turn the opposite way that focus-pullers will be expecting);   Barrel distortion and focus breathing will be commonplace and DSLR zooms won’t hold their focus during zooming. We took the regular Zeiss ZF prime set and ground off the front elements to make a unique set of low-cost Zeiss uncoated Primes and they work very well. The later PL mount lenses are compatible with Cooke/i data. With the vast array of lenses and accessories available, selecting the right one can be daunting. There are 7 focal lengths in the set covering 14-135mm. Alexa Mini; BMD Ursa Mini Pro; Canon C200; Canon C700 6k to 4K; Canon … We have seen the advent of digital sensors replacing film and then HD sensors and then 4K and 8K and so on and whilst the increase in resolution (more pixels-more detail and colour subtleties) has been important, manufacturers have also started to release larger size sensors to not only accommodate the increased pixel counts but to allow the film maker to utilise the benefits of a larger sensor. on A Comparison of Cine Prime Lenses for Full Frame Cameras, The 10 Cinematographers who have Influenced Me the Most, Compatible CFexpress Cards for the Canon EOS R5. Necessary cookies are absolutely essential for the website to function properly. These are heavier than DSLR zooms 1.45kg) but optically they are beautiful, don’t breathe (zoom when focussing) and will hold focus when zooming. These cookies do not store any personal information. Here is a list which, whilst not exhaustive, aims to be a practical and useful guide to lenses which achieve the aim of Full Frame cinematography. The downside (depending on the codec used) will be an increase in storage requirements and some NLE platforms and hardware may struggle to play back in full res but that will soon solve itself as it always does. These cookies will be stored in your browser only with your consent. These cookies will be stored in your browser only with your consent. The material you need for your project can be easily found. CP3; CZ; Supreme; Digital Cinematography Cameras 2018. With 3 Zeiss CZ.2 Compact Zooms in the series (VMI stock the 28-80 and 70-200), these compact zoom lenses cover Full Frame and Super 35. Introduces New Cine-Servo 25-250mm T2.95-3.95 Cinema Lens Available in Both EF and PL Mount Superb Combination of Focal Range, Compact Size … Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. Canon have an enviable choice of native EF mount lenses and these can work extremely well in a production environment. If you could only pick one, get this: Canon CN7x17 KAS S Cine-Servo 17-120mm T2.95 – you could shoot entire projects with just this one lens. The LPL mount allows for a more telecentric design of lens as the back elements of LPL lenses can be physically wider to facilitate more parallel light beams therefore reducing hot spotting and increasing even magnification. Also each lens (25mm-85mm) is made to have an identical size and weight (1050g), so they can be easily changed on a gimbal without necessitating rebalancing. A useful range and a compact size, both the 28-80 and 70-200 have 95mm lens fronts and weight 2.5 and 2.8kg respectively. There is a growing range of Native E mount lenses including Sony G Master, Sigma E mount and others. The CP.2s are proven workhorses, and the CP.3 is of the same breed. Cooke S7i 18mm . The Spacebeam is an accessory which serves two purposes. As such, they fully cover Alexa Open Gate and larger too, if the camera image sensor allows this. And Cooke promises this lineup matches perfectly with the rest of their series. Cooke S7i T2.0 (25mm, 32mm, 40mm, 50mm, 75mm) Cooke S7i 100mm . The lenses are equipped with /i Technology and are available in 7 x focal lengths of 32mm-180mm, all with a maximum iris of T2.3. The lens design is telecentric, which helps reduce illumination fall-off from light hitting the sensor at a sever angle outside of the image circle and ARRI can offer this with an uncoated front to create a different look.. ZEISS eXtended Data technology for electronic metadata capture. Nowadays ‘Full Frame’ is a bit more of a generic ‘catch all’ phrase but again it does have a fixed dimensional history based on 35mm film. Vista One lenses … They do have some advantages going for them: Maybe this is a commitment from Canon that their future full frame cameras will stay under the 43mm diagonal. Key among those is the change in size. Both zoom lenses lenses weigh 2kg and have a front element of 114mm. 16 lenses in the entire set from 12-180mm (not all available at time of writing). A 25mm lens is a 25mm lens is a 25mm lens. But opting out of some of these cookies may have an effect on your browsing experience. The Angenieux EZ Zooms have a totally different strategy with other lenses. Lenses that cover LF are required to shoot in this mode and indeed ARRI have created the LPL mount with a 44mm depth for some of their lenses but you can use an adapter that brings it back to PL with a 52mm depth. … The Atlas Orion anamorphic lenses are interesting anamorphics which flare easily and whilst these are don’t quite cover Full Frame, they cover an image circle of 31mm, so larger than Super-35 but smaller than Full Frame. VMI’s Zeiss ZF Prime Set comprises 5 lenses (21-85mm) which have been modified to have 80mm fronts and which are fully manual, VMI adds a focus gear ring and they perform surprisingly well. The images which have been reproduced courtesy of IMAGO show how the subject and background objects which do not change in relation with each other, can be manipulated to move closer and further away from each other by moving the camera away from the subject and using a longer focal length. ), I wouldn’t hesitate to recommend the Zeiss CP.3 line. I’m only including lenses that are considered serious cinema lenses, not pseudo-cine lenses. So you can see from the images of the girl in red shot on a 50mm in FF and S35 version, the FF versions seem to involve the space around the subject in a more engaging way-it’s a subtle but telling shift in storytelling and it may be for you. So you already have an upscale in terms of resolution and detail and even if there is a downscale to HD later on there will be a latent extra quality to the picture and of course future proofing of the material. Each can be offered in PL or EF mount, though VMI are stocking these presently in PL mount only. One key difference between the cine primes and cine zoom lenses are that the primes cover full frame cameras, while the zoom lenses are designed for APS-C and Super 35mm cameras. Canon Sumire. You also have the option to opt-out of these cookies. It is mandatory to procure user consent prior to running these cookies on your website. Exclusive Bonus: Download your FREE Blueprint: How to make a movie. Our specialists can guide you through our comprehensive range of DSLR, 2/3” ENG zooms and Cine Style primes from leading brands including ARRI, Canon, Sony, Cooke… We also use third-party cookies that help us analyze and understand how you use this website. As you can see, they all have strengths and weaknesses that make them perfect for some cameras and applications, and unacceptable for others. The disadvantage in film terms was that it used twice as much film as a vertical pull down camera and so was relegated to the visual effects world fairly early on in its lifetime. Cooke S3 Speed Panchro PL Prime 25mm/T2.2 CF 15″. The second issue worth mentioning is that for the Sony compatible lenses, working in Full frame means that the perceived field of view (in full frame mode) is wider than that of S-35, owing to a larger image size being generated by the lens. A 25mm lens is a 25mm lens is a 25mm lens and putting it onto a FF camera does not alter its focal length. Cooke Panchro Classic 65mm Macro . Firstly motion picture film has used the same basic principles for nearly 100 years and that is that the film travels vertically downwards through an exposure window called a gate and each picture is moved on by four perforations (Bell & Howell pitch for the geeks). Consider this as the second episode of our Sumire Saga. These lenses have been around a long time. The important aspects of image quality are focus breathing, lens distortion, flare control, internal reflections, lens aberrations, lens metadata, electronic control, etc. A look at the specifications of a few popular cine prime lenses in the PL mount, specifically for full frame sensors. It is categorized according to the Spheric or Anamorphic formats. These lenses are designed to easily attach nets to if desired and are available in PL mount only. It is worth mentioning that some E mount cameras (such as Sony FS-7 and FS-7 Mk II) only cover S-35, whilst others such as Sony A7S Mk II and Sony FX-9, whave Full Frame sensors. The set ranges from 18 mm to 180 mm and features a T1.8 aperture and full ZEISS eXtended Data technology for electronic metadata capture. Whilst this technique can be used with S-35 or FF, it is more noticeable in FF as a consequence of the larger image size (36.70mm x 15.31mm). A host of useful functions including built-in ND, 4K 12G output (on 1 x BNC), 4 audio channels (with Extension 2 module) and Image Stabilisation (even on PL mount lenses using a partial crop system) makes this a very versatile camera indeed. You don’t want to be wider you want the same image you had in your head so the aforementioned 25mm is too wide so you have to change lens to a 35mm or even 40mm to give you the picture you wanted. Solidly built and with clear markings, they are also surprisingly compact with an 85mm front diameter (18.5mm has a 95mm front). This is in no way an exhaustive list but it is worth mentioning that EF and other mounts are becoming increasingly more available on ARRI, Sony and RED DSMC-2 cameras as well as a multitude of professional cameras. The very useful website by Abelcine here demonstrates this very effectively. As such, the 2 x zooms in the series cover the focal range of Wide 15-40 (S-35) or 22-60 (VV) and also Standard 30-90 (S-35) or 45-135 (VV). The advantages were a much bigger picture, therefore higher quality as more film grains were used per frame to present a smooth fine grain image which was extremely useful for visual effects and it’s the same advantage in today’s digital cameras. 7i; Classic; 1.8* Anamorphic; 1.8* Anamorphic SF; 35-140 Anamorphic + Expander; Fuji Premier + Expander; Leitz. Some useful features: No such thing! All EF, ZF, Leica and other similar stills lenses will cover Full Frame. We offer expert help and advice so speak to us today or browse our range of special price drop offers. A full frame sensor is 36mm x 24mm. Lengths are not constant, even in the mid-range! There are A LOT of PL-mount full frame cinema lenses: Cooke S7/i line, Zeiss CP.3 & Supreme Primes, Canon's own Sumire line etc. The main advantage compared with the newer C500 Mk II is it can capture full RAW on board and is capable of 120fps in 4K without crop. Angenieux are experimenting with removable aperture blades and an internal lens element! However, in its new FF guise, it may well be a channel to consider in conjunction with some medium cost lenses (Canon Sumire for instance) for a cost effective foray into the FF world. As such, they fully cover Alexa Open Gate and larger too, if the camera image sensor allows this . Unusually, Leica Thalias don’t have a constant aperture throughout the range and the 9 lenses have a focal range of 24-180mm and a varying maximum aperture of between 2.2 and 3.6. Blog I use this combo all the time and the 10 Lenses we have all do.. It’s worth considering the SLR Magic APO Hyperprimes. The “CANON K35 ADVANCED LOOK” as they call it puts it in a league of its own. One of the key complaints of this series is the chromatic aberration in this lineup. We have discussed lenses at length before and so will try not to get side tracked too much and stick to the FF bits. However, you can’t argue against its value for money. So a Vistavision film camera took the East-West travelling concept of an SLR and turned it into a movie camera able to run at 24fps but crucially with an 8 perf pull across allowing for a box of 36x24mm to be exposed. **If three of the lenses (among the middle five) are T1.5 but the other two are T2.1, then the largest consistent aperture is T2.1. Canon's line of PL-mount cinema prime lenses is named Sumire Prime (pronounced "Soo-mee-ray")—inspired by the beauty of unfurling flower petals. For the Arri Signature Primes, it’s a 47mm. Thalia; Prime; Samyamg; Schneider; Sigma; SLR Magic; Spirit Lab; TLS Noctilux; Tokina Vista; Whitepoint. Full frame however, due to the very shallow DoF compared with S-35, will hugely benefit from the Auto Focus (AF) function of these lenses and we expect operators to increasingly take advantage of AF in a production environment. No super wide angle or telephoto option greater than 105mm, Some lenses have a 95mm diameter, some have 114mm. Angenieux has cleverly designed these lenses so that you can decide whether to use them to cover super S-35, or instead introduce in an additional optic with a 2.7x zoom factor to cover Vistavision. Cooke lens : Full Frame S7i . It is worth mentioning here that an RED DSMC2 body fitted with a RED DSMC2 Production Module effectively becomes a RED Ranger camera system. This means the lenses chosen must at the very least cover an image circle of 42mm to adequately cover a full frame sensor without vignetting. And finally, I’m not considering lenses for the Alexa 65 or 65mm film. Can’t say the same about Tokina. Set of 11 Leica Summicron-C prime lenses which cover a 36mm circle, so whilst not quite Full Frame, this is larger than S-35 and feature a T2.0 aperture in PL mount. DSLR stills zooms are not parfocal lenses, which means that the image will not remain in focus when zooming out, so instead they need to be used as variable primes, rather than zoom lenses. They are large and quite heavy with each focal lens weighting between 3.8 and 6.2kg and a front diameter of between 206 and 314mm. Even though they are T2.1, I would personally pick them over the Canon Sumire. Putting a 25mm lens onto an FF camera does not alter the focal length of the lens, it is still a 25mm lens and it has the same field of view and depth of field that it did when you last put it on a Super 35mm camera because…it is a 25mm lens. The Canon Sumire prime lenses are designed to cover Full Frame and achieve a constant maximum aperture of T1.5. This website uses cookies to improve your experience while you navigate through the website. On board 16 bit RAW or X-OCN capture to AXS S48 cards, the modular design facilitates the Venice to use used as a portable box camera or in a full production format and the additional capability of being able to use the Venice Rialto system into a split camera/recorder system makes this is a tremendously versatile camera. A 25mm FF lens on an FF sensor will provide a wider image because all of the bigger circle of image is now being used. I’ve personally used these lenses and they are solid. The lineups that I really want to test next is: The Signature Primes cover the Alexa LF sensor, while the Cooke S7/i covers Monstro. If you ask me which set to buy in the low-end business (corporate videos, commercials, etc. Includes ZEISS eXtended Data technology for electronic metadata capture. The Signature Primes cover the Alexa LF sensor, while the Cooke S7/i covers Monstro. They are only available in EF mount, and whilst Duclos in the US offers a PL lens mount conversion, VMI only stocks these lenses in EF mount. Since Full Frame is a digital image standard, both existing and future DSLR cameras are capable of capturing video in Full Frame, though the video codecs of DSLR cameras are always rather limiting. Some are extremely good, others are average. The ARRI LF and ARRI Mini LF Provides a 36.7 x 25.54mm (1.43:1 aspect) sensor that is 4K (4448 pixels in the horizontal plane) when being used in LF mode (this is slightly larger than FF). It is mandatory to procure user consent prior to running these cookies on your website. The RED Gemini sensor was built to have special low light capabilities and whilst it is not FF, coming in at 30.72x18mm (1.7:1) it is slightly larger than Super 35mm when being used in full 5K mode and therefore has a potential need for FF cover lenses particularly at the wider end. The Sigma Cine series prime lenses are designed to cover Full Frame and achieve a constant maximum aperture of T1.5. You either get inspired or you don’t, regardless of what MTF charts tell you. Mostly these modifications or improvements have an emphasis on an upscale in quality to tempt the consumer to upgrade their hardware or VoD packages and of course this means the origin of the content must also have been ‘upscaled’ to deliver on the retail promise. Cooke have calculated that 1.8x is the sweet spot, since their opinion is that 2x loses too many pixels and 1.6x does not give a suitable anamorphic feel, hence 1.8x. And they are consistent and color matched to other Zeiss glass. As we’re getting low with the T-stop, we can notice a significant reduction regarding sharpness in the Sumire series. Anamorphic lenses are (have) generally been designed to output their image oval onto Super 35mm size sensors so you will get strong vignetting if trying to use these on an FF sensor. Alexa Sensor Coverage:  3:3 Ana 23.76×17.89mmRED Sensor Coverage: Helium 8K 6.5K Ana Gemini 5K 6.5K Ana Monstro 7K+ 6.5K Ana. There are 7 focal lengths in the set covering 14-135mm. So by doing that, two things have happened-firstly if your iris setting is the same then your depth of field has shrunk ( if you had changed to a 50mm it would have halved) and secondly the perspective on the image has flattened-objects in the distance will feel a bit closer and a bit softer because of the longer focal length. Canon. It delivers 4K 4:2:2 10 bit oversampled images to the onboard XQD cards in XF-AVC codec. Expect that EF lens sets will usually not have a common maximum iris or indeed even a manual iris ring, since the iris control of EF lenses occurs on the camera body. Let’s tackle each lineup one by one, with both pros and cons, and where each lineup separates itself from the bunch. These are much more affordable and will grant you the advantages needed on a professional production. The video shows clearly the deference in micro-contrast between the Sumire and the CN-E primes. At smaller apertures, Sumires perform much like standard CN-Es, providing crisp, clean images. And they are too expensive for what is on offer. 7i; Classic; 1.8* Anamorphic; 1.8* Anamorphic SF; 35-140 Anamorphic + Expander; Fuji Premier + Expander; Leitz. The Cooke S7/i series lenses are designed to cover Full Frame and up to the full sensor area of the RED Weapon 8K (46.31mm image circle), which is beyond VistaVision. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. They are unique at Canon in that products are usually not given names, like Sumire, but rather letters and numbers, like C70, R5, CN-E and K-35. The Sony Venice is a true 36x24mm (1.5:1 aspect) size sensor when in 6K mode, so it fully covers FF.