Full Frame

From Still Photography to Motion Pictures

The term Full Frame originates from 35mm still photography, where the standard negative size is 36x24mm. In the context of filmmaking, it describes a digital cinema camera sensor that matches these dimensions. This is significantly larger than the traditional Super 35mm film frame (approximately 24.9x18.7mm) that has been the standard for motion pictures for decades. The adoption of full frame sensors in cinema represents a major technological shift, offering filmmakers a new set of visual characteristics to explore.

The primary appeal of the larger sensor is its impact on the field of view and depth of field. A full frame sensor captures a wider field of view than a Super 35mm sensor when using the same lens. To get the same framing on a subject, a cinematographer must either move the full frame camera closer or use a longer lens. This combination of a larger sensor and longer lenses results in a shallower depth of field, making it easier to isolate subjects from their background with a soft, out-of-focus blur (bokeh). This look is often described as more ‘cinematic’ or ‘photographic’ and is highly sought after for its aesthetic beauty. The increased sensor size also generally leads to better low-light performance and higher dynamic range, as the individual photosites (pixels) are larger and can capture more light information.

The Rise of Full Frame in Digital Cinema

While 35mm film has been a motion picture standard for over a century, the use of the full 36x24mm frame for moving images is a more recent development, driven by digital technology. Historically, motion picture cameras oriented the 35mm film strip vertically, resulting in the smaller Super 35mm frame. Still photography cameras, by contrast, ran the film horizontally to create the larger 36x24mm frame.

Digital cinema cameras like the ARRI ALEXA LF, Sony VENICE, and RED Monstro are prominent examples of full frame systems that have been embraced by top-tier cinematographers. Roger Deakins famously used the ALEXA LF for his Oscar-winning work on 1917 to create an immersive, large-format look. The wider canvas and shallow depth of field helped envelop the audience in the on-screen action. Similarly, films like The Revenant and Joker have utilized large-format digital cameras to achieve a distinctive visual texture that sets them apart. This trend marks a departure from the established look of Super 35 and a move towards an aesthetic that leverages the best qualities of both traditional photography and modern digital imaging.