Dual Base ISO means the camera’s imaging sensor has two distinct sensitivities to light. To help avoid this, the VENICE and FX9 camera’s full frame sensor has what is termed Dual Base ISO.
While grain on analog film, like at ASA 400 for example, might be pleasing and enhance the feel of an image, the introduction of digital noise to an image rarely brings a similarly pleasing result. Increase the gain to make an image appear twice as bright and you’re also introducing twice as much noise to the signal, and the image quality is thusly decreased. Adding gain to increase the ISO, or to make the image appear brighter, adds noise and in most cases will reduce the dynamic range that can be recorded. This is because at the base ISO setting, there is no amplification, or gain (voltage), added to the signal coming from the sensor. It’s at this base ISO value you will achieve the optimum balance of low noise, the best signal-to-noise ratio, and almost always, the widest possible dynamic range. A lot bigger.ĭigital imaging sensors perform best when set to their base ISO. For the next generation of filmmaking cameras, however, manufacturers began to think bigger than Super 35. For stills photography, film travels horizontally through the camera, providing the largest of all the popular image formats for 35-mm film, with a 36-mm by 24-mm frame, using eight perforations on the film for each frame, traditionally called full-frame.Īt the turn of the 21st century, digital cameras with Super 35-size sensors (including Sony’s revolutionary F35) proved good enough to challenge film cameras, and started the digital revolution in Hollywood and across the world. One of them, 3 Perf, uses just three perforations in the film per frame equating to an individual wide-screen frame of 24.89 mm x 14 mm, commonly referred to as Super 35 mm. In traditional movie-making, film travels vertically through the camera, providing a variety of different image formats. The physical dimensions of a full-frame sensor date back to the early 1900s when 35-mm film emerged as a universal standard for filmmaking and, later, as 135 film for stills photography.
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