That is why a lot of APS-C/crop lenses refer to something called the “equivalent focal length.” This accounts for the crop factor and shows what lens you will want on an APS-C sensor to achieve the same field of view as a full-frame lens on a full-frame sensor. There are the obvious parts, such as crop factor, which means when you use similar lenses and focal lengths on smaller formats you are getting a tighter framing. If you are trying to get the “full-frame look” you can actually get a close approximation just by understanding how optics work and how different settings can change your image. The differences between APS-C and full-frame are noticeable – if all things are equal. He explains how the cameras work and how you can do it yourself. If you are curious about how to get the full-frame look yourself using an APS-C camera there is a nice explainer from filmmaker Joris Hermans. However, these adapters require adapting lenses, don’t work on all cameras, and cost a fair deal of cash to purchase. It also happened because these other formats are more common, more affordable, and often more capable for video recording.īeing able to recreate the look and feel of a full-frame was almost a super power. Speed boosters came about to solve the problem of APS-C and smaller format cameras having a limited depth of field control and worse low-light performance than full-frame.
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