December 17, 2016 at 7:43AM


Demystifying Digital Camera Sensor Size

The soul of any digital camera is its digital sensor—to determine the resolution, camera sensor size, depth of field, low-light performance, dynamic range, lenses, and even the camera’s physical size but the camera sensor is the key.

The camera image sensor is a solid-state device. This is the part of the video camera’s internal hardware that captures light and converts it into a crispy and beautiful image. The camera sensor is the electronic equivalent of film.

With film cameras, you could choose from many film stocks, each with its own unique characteristics. With digital cameras, much of the technology is already built into the camera’s hardware, and you have a choice of hundreds of looks you can apply later in post production.

Check out the video breakdown here:


I had someone once tell me they thought Micro 4/3rds was an obsolete camera format... I'll just leave it at that.

December 18, 2016 at 10:15PM

Ryan McCurdy
Commercial Video Producer/ Filmmaker

you sir are a liar lol... does this person still make films? because they shouldn't

December 21, 2016 at 8:34PM

Wentworth Kelly
DP/Colorist/Drone Op

>>>I had someone once tell me they thought Micro 4/3rds was an obsolete camera format...

Not sure what to make of this comment ?

Over the past 2 years almost all of the video innovations in the $2,000 and less camera price range have come from mirror-less cameras, easily leaving DSLR cameras in the dust. Many of these features first appeared in Micro 4/3 cameras. Things like...

- Can shoot 4K footage internally
- No recording time limitation ( as long as your battery and memory card can last )
- Electronic viewfinder with full information and imaging tools
- 5-axis body stabilization ( turns you into a human-tripod )
- Hilight and Shadow gamma controls
- LOG imaging profiles
- XLR audio inputs ( via optional audio accessory )
- High bit-rate recording ( up to 200 Mbps without an external recorder )
- WiFi camera controls and monitoring
- 3+ hour battery-life
- Can shoot with almost any camera lens ever made
- Supports anamorphic shooting formats

When the Panasonic GH5 camera arrives in April 2017 we can add 4K 10-bit 4:2:2 internal recording to the list.

I can't see how the Micro 4/3 imaging format is becoming obsolete any time soon. It's definitely a different format, falling half way between the size of the Super35 and Super16 film formats.

December 19, 2016 at 12:13AM, Edited December 19, 12:34AM

Guy McLoughlin
Video Producer

I don't know what they were saying You make a lot of good points.

December 20, 2016 at 7:19AM

Ryan McCurdy
Commercial Video Producer/ Filmmaker

I've also read the comment that anything less than S35 is useless, obsolete etc. It's pure, ignorant bull, just like how anything less than UHD is obsolete. The 2/3" (16mm) format is alive and well, so is S16 (1"), so is 4/3" (almost flat 35mm). In fact, sub-S35 formats account for probably 95% of program material on TV. Even 1/2" gets a lot of use for ENG.

December 19, 2016 at 5:10AM


anyone think to judge a sensor from its size is a troll...
aps-c,m4/3 are near to s35mm size, the standard of cinematography, anyone think that fullframe is a standard is a very misinformed guy, and don't know anything about movie making.
m4/3 is a very nice mount/sensor size, if you use lens for mft, if you use full frame lens on m4/3 you have a bit of crop, enought to use best of your lens, not enough to cause a real problems on wide angle. m4/3 have some real wide (sensor sized) to work fine also in very small rooms like 14-42 power X, which have also electric zoom, or 12-35 2.8.
the real game changing is to use sensor sized lens to avoid crop for wide, if you are obsessed from crop. Myself before to know the crop i never be tired about it, and after that... i'm not obsessed about it, i choose lens for geometric distortion that i what, then i use it and frame for that i can.

January 16, 2017 at 4:57AM

Carlo Macchiavello
Director (with strong tech knowledge)

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