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34-505: The L-Mount has an inner diameter of 51.6 mm and a flange depth of 20.0 mm. The L-mount exists in two versions, an APS-C version (TL) and a full-frame version (SL). The two versions are mechanically and electronically compatible. TL lenses mounted on full-frame cameras will cause the camera to use a crop mode from the center of the sensor, corresponding to the APS-C coverage of the lens. SL lenses mounted on TL cameras function normally, providing

68-460: A " focal length multiplier" for comparing a proportionally scaled lens/image circle projection/sensor diameter) can be used to calculate the field of view in 35 mm terms from the actual focal length. The most common multiplier ratios: Canon, Fujifilm, Nikon, Pentax and Sony have developed and designed lenses specifically for their cameras with a lens factor (more fully, lens focal length conversion factor) or " crop factor ". While Canon uses

102-624: A 1.5x crop field of view, as is typical with APS-C cameras. In 2018 Leica formed the L-Mount Alliance , licensing Sigma , Panasonic in the same year, to use an upgraded version of the mount for their own products, opening the way for a more extensive system of fully compatible cameras and lenses. Ernst Leitz Wetzlar GmbH, the cine lens business of Leica, joined the L-Mount Alliance in 2021, DJI followed in 2022, Samyang , Astrodesign and Blackmagic Design in 2023. It

136-532: A Nikon FX (full-frame) digital body, by default the camera will automatically adjust the viewfinder to depict the DX frame area and crop the captured images to the DX image size. This can be overridden by the user if desired. Pentax produces the DA line for their APS-C cameras. These lenses are available in focal lengths that offer similar field-of-view as lenses previously available for 135 film. The trademark compact design of

170-439: A Super 35 format but are then – either through optical blowdown/matting or digital intermediate – converted into one of the standard formats to make release prints. Because of this, often productions also use Super 35's width in conjunction with a 3-perf negative pulldown to save costs on "wasted" frame area shot and accommodate camera magazines that could shoot 33% longer in time with the same length of film. If using 4-perf,

204-444: A factor in low-budget production – and provide a wider range of lens choices to the cinematographer. The chief advantage of Super 35 for productions is its adaptability to different release formats. Super 35 negatives can be used to produce high-quality releases in any aspect ratio, as the final frame is extracted and converted from the larger full frame negative. This also means that a full-frame video release can actually display more of

238-450: A factor of 1.6×, the other four brands all use 1.5×. APS-C cameras use a smaller area to form the image than traditional 35 mm cameras, and so lenses used on APS-C format cameras have a correspondingly narrower field of view. For example, a 28 mm lens is a wide angle lens on a traditional 35 mm camera. But the same lens on an APS-C camera, with a lens factor of 1.6× (relative to a standard full-frame 35 mm format camera), has

272-476: A few large-sensor live-preview digital cameras . APS-C size sensors are also used in a few digital rangefinders . Such sensors exist in many different variants depending on the manufacturer and camera model. All APS-C variants are considerably smaller than 35 mm standard film which measures 36×24 mm. Because of this, devices with APS-C sensors are known as "cropped frame," especially when used in connection with lens mounts that are also used with sensors

306-566: A full-frame camera in 2019, using the L-Mount and the company's Foveon sensor, as well as a range of L-mount lenses and adapters for Sigma SA and Canon EF lenses. Six cameras and 39 native lenses are confirmed for the L-Mount by 2020. Leica T/TL cameras use APS-C sensors. The TL mount version is not dust- or splashproof. Leica SL cameras use full-frame sensors. The SL version is dust- and splashproof. Leica has an existing range of fifteen L-Mount lenses. Panasonic committed to releasing

340-512: A range designed specifically for mirrorless parameters. Manual third-party lenses are being produced in L-mount by Irix Cine, 7Artisans (Photoelectric series), Meyer-Optik (Görlitz series), and Kipon HandeVision (IBELUX and IBERIT series'). This camera-related article is a stub . You can help Misplaced Pages by expanding it . APS-C Advanced Photo System type-C ( APS-C ) is an image sensor format approximately equivalent in size to

374-473: A total of ten lenses for the L-mount by the end of 2020, beginning with the 50mm F/1.4 prime and the two zooms listed below; stating that they would provide details at Photokina 2019. Sigma plans to release a wide range of lenses. 14 primes from Sigma's 'Global Vision' range, primarily designed for reflex cameras with short flange depths and currently available for the mirrorless Sony E-mount , will also be released in L-Mount from 2019. These will be followed by

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408-587: Is a motion picture film format that uses exactly the same film stock as standard 35 mm film , but puts a larger image frame on that stock by using the space normally reserved for the optical analog sound track . Super 35 was revived from a similar Superscope variant known as Superscope 235, which was originally developed by the Tushinsky Brothers (who founded Superscope Inc. in 1954) for RKO in 1954. The first film to be shot in Superscope

442-673: Is considerably closer to the sensor or film plane than that of an EF (full-frame/35mm) or EF-S lens. Canon sells an optional adapter that allows EF-M bodies to accept all EF and EF-S lenses. Fujifilm debuted their X-mount range of lenses in early 2012. These lenses are designed for their X series cameras using APS-C sensors. Nikon makes DX format lenses for their line of APS-C digital cameras. These can be physically mounted to all Nikon digital and film SLR camera bodies since 1977. These lenses generally exhibit vignetting at shorter focal lengths when mounted on Nikon film bodies, but are typically usable at longer focal lengths. When mounted on

476-553: Is cropped and the resolution is roughly halved. E-mount lenses are compatible with all of the company's APS-C MILCs, from the NEX-3 and NEX-5 through the current α3000 , α5100 , α6500 , α6600, and α6700 . In addition, they can be mounted on Sony full-frame MILCs ( α7/α7R/α7S , α7R II , α7S II ) in "crop" mode (the company also produces E-mount lenses designated as "FE", which cover the entire full-frame image circle). Super 35 Super 35 (originally known as Superscope 235 )

510-503: Is used by the Leica TL (discontinued), TL2 , Leica CL (2017) and Leica SL systems. The L-Mount is a registered trademark of Leica Camera AG. On 25 September 2018, the L-Mount Alliance between Leica, Panasonic and Sigma was announced, enabling the partners "to make use of the L-Mount standard developed by Leica for their own developments and to offer both cameras and lenses utilising this lens mount" with full compatibility between

544-743: Is why each manufacturer offers a range of lenses designed for its format. The signal-to-noise ratio for a given pixel is largely defined by the number of photons per pixel and the sensor readout noise. Larger pixel sizes can capture more photons per pixel thus giving a higher SNR and generally less image noise . However, for practical applications, the image noise of an APS-C sensor cannot be directly compared to either smaller or bigger sensor sizes as there are also other variables to consider, such as advancements in image processing techniques. Most DSLR and third party lens manufacturers now make lenses specifically designed for APS-C cameras. The designations by brand include: A crop factor (sometimes referred to as

578-645: The Advanced Photo System film negative in its C ("Classic") format, of 25.1×16.7 mm, an aspect ratio of 3:2 and Ø 30.15 mm field diameter. It is therefore also equivalent in size to the Super 35 motion picture film format, which has the dimensions of 24.89 mm × 18.66 mm (0.980 in × 0.735 in) and Ø 31.11 mm field diameter. Sensors approximating these dimensions are used in many digital single-lens reflex cameras (DSLRs), mirrorless interchangeable-lens cameras (MILCs), and

612-566: The E-mount for their α MILCs. The DT lenses can be mounted on any Sony A-mount camera, but are specifically designed for the DSLR-A100 up to DSLR-A700 series of APS-C-format DSLRs, the earlier Konica Minolta 5D and 7D , and the most recent APS-C Alpha SLTs. DT lenses can be mounted on full-frame models like the DSLR-A850 , DSLR-A900 , and SLT-A99 in "crop" mode, where the frame

646-652: The 2.39 extraction area at the center of the film, and common top , which shifts the 2.39 extraction area upwards on the film so that it shares a common top line with a centered 1.85:1 frame. Proponents of the common-top method have included James Cameron , Martin Scorsese and Gore Verbinski , as it allowed 4:3 home video versions to be made with similar framing. This method did present minor issues, such as necessitating tilting during zooms, and could also result in off-center lens flares. As 16:9 televisions increased in popularity, it became more practical for productions to use

680-576: The DA limited series takes advantage of the smaller APS-C format with the lenses under 40 mm and is fully usable on 135 Film with the DA Limited Lenses over 35 mm focal length. All DA lenses can be mounted on Pentax film bodies, albeit with increased vignetting . Some lens in the DA series cover 35 full frame format fully. Sony has two lines specifically designed for their APS-C cameras—the DT line for their A-mount DSLRs and α SLTs , and

714-454: The Super 35 exposure area is 24.89 mm × 18.66 mm (0.980 in × 0.735 in), compared to the standard Academy 35 mm film size of 21.95 mm × 16.00 mm (0.864 in × 0.630 in) and thus provides 32% more image area than the standard 35-mm format. 4-perf Super 35 is simply the original frame size that was used in 35 mm silent films . That is, it is a return to the way the film stock

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748-456: The common center method. Many of the first digital cinema cameras used Super 35-sized sensors, as it allowed compatibility with existing cinema lenses. Today, many of the most widely-used digital cinema cameras, including the Red Epic and Arri Alexa , have Super 35-sized sensors. Super 35 is a production format. Theatres do not receive or project Super 35 prints. Rather, films are shot in

782-511: The exception of the early Canon EOS D30 , Canon EOS D60 , and Canon EOS 10D , which predated the introduction of the mounting system. EF-S lenses will not physically mount on Canon's full-frame digital or 35mm film SLRs. More recently, the company introduced the EF-M line for its EOS M series of mirrorless interchangeable-lens cameras (MILCs). EF-M lenses will not physically mount on any Canon SLR, whether film or digital. The rear of an EF-M lens

816-454: The format, Super 35 became popular in the mid-1990s, and soon thereafter became a ubiquitous production format - particularly among visual effects-driven films, as the unused frame area allowed greater flexibility in motion tracking and CGI-related tasks. When composing for 1.85:1, it is known as Super 1.85, since it was larger than standard 1.85. When composing for 2.39:1, there are two methods most frequently used: common center , which keeps

850-616: The frame than the theatrical release ( Open matte ), provided that the extra frame space is "protected for" during filming. Generally the aspect ratio(s) and extraction method (either from a common center or common topline) must be chosen by the director of photography ahead of time, so the correct ground glass can be created to let the camera operator see where the extracted frame is. Super 35 ratios have included: 1.66:1 and 1.75:1 have been indicated in some Super 35 frame leader charts, although generally they have not been used for Super 35 productions due to both relative lack of usage since

884-524: The illustration). These two characteristics are central to the format. It was adopted by Hollywood starting with Greystoke in 1984, under the format name Super Techniscope . It also received much early publicity for making the cockpit shots in Top Gun possible, since it was otherwise impossible to fit 35 mm cameras with large anamorphic lenses into the small free space in the cockpit. Later, as other camera rental houses and labs started to embrace

918-400: The lack of a need for a final release print; with the advent of widescreen television sets, 3-perf Super 35 – with a native 1.78:1 (16:9) ratio – was widely used for widescreen television shows until the advent of digital shooting. 3-perf Super 35 was also used for some time for feature films in 1.85:1 & 2.39:1, and the digital intermediate process made it more attractive because it allowed

952-489: The rise of Super 35 and their greater use of negative frame space by virtue of their increased vertical dimension. Theoretically, 2.39:1 release prints made from Super 35 should have slightly lower technical quality than films produced directly in the anamorphic format. Because part of the Super 35 image is thrown away when printing to this format, films originated with anamorphic lenses use a larger negative area. Super 35 has continually been popular with television shows, due to

986-573: The same angle of view as a 45 mm (28 mm × 1.6 lens factor) lens on a 35 mm camera—i.e. a normal lens. Several third-party lens manufacturers, such as Tamron , Tokina , and Sigma , also manufacture a range of lenses optimised for APS-C sensors. Canon introduced the Canon EF-S line of lenses in 2003 alongside the 300D. These lenses place the rear of the lens closer to the camera's sensor (referred to as short back focus ). EF-S lenses are compatible with Canon's APS-C digital SLRs, with

1020-445: The size of 35 mm film: only part of the image produced by the lens is captured by the APS-C size sensor. Sensor sizes range from 20.7×13.8 mm to 28.7×19.1 mm, but are typically 22.3×14.9 mm for Canon and 23.5×15.6 mm for other manufacturers. Each variant results in a slightly different angle of view from lenses at the same focal length and overall a much narrower angle of view compared to 35 mm film . This

1054-411: The three companies' products. According to Sigma CEO, Kazuto Yamaki, the "L-mount system is not exactly the same as the existing one. We updated it a little bit to work better with such lenses through lens adapters." On the same day, Panasonic announced its S1R and S1 full-frame L-Mount cameras and three L-Mount lenses, with seven more lenses to be launched by 2020. Sigma announced that it will launch

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1088-424: Was Vera Cruz , a western film produced by Hecht-Lancaster Productions and distributed through United Artists . When cameraman Joe Dunton was preparing to shoot Dance Craze in 1980, he chose to revive the Superscope format by using a full silent-standard gate and slightly optically recentering the lens port (to adjust for the inclusion of the area of the optical soundtrack – the gray track on left side of

1122-663: Was introduced in April 2014 with the Leica T (Typ 701) camera. At the time of introduction, it was called the "T-mount", but this was changed to "L-mount" with the release of the Leica SL , a full-frame sensor camera using the same mount. The Leica T was renamed to the Leica TL at this time, to permit marketing clarity for the L-mount lens line: TL lenses would cover APS-C sensors, while SL lenses would cover full-frame sensors. The mount

1156-584: Was used before the frame size was cropped to allow room for a soundtrack. Super 35 competes with the use of the standard 35 mm format used with an anamorphic lens. In this comparison, advocates of Super 35 claim an advantage in production costs and flexibility; when used to make 2.39:1 theatrical prints and the ability to format the film for TV, detractors complain of a loss in quality, due to less negative area used and more lab intermediate steps (if done optically). Super 35 uses standard "spherical" camera lenses, which are faster , smaller, and cheaper to rent –

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