Large Format and Film Language

Abstract

Different formats of film and cameras have existed since the early days of cinema, ranging from 8mm to 70mm and IMAX. These formats have constituted an important choice for filmmakers and cinematographers to make in the early development of a film. The large format, defined as any size larger than the standard Super 35mm, was originally used for visual effects or more epic films on a grand scale. Since the introduction of digital large format cameras in 2014, they have been gaining popularity in film productions, having become more compact and accessible to filmmakers. The large format is no longer limited to a specific type of production or genre, as it can be used in both superhero action films and intimate dramas. As the large format has gained popularity, it has also been a topic of discussion within the film industry, with many filmmakers and camera manufacturers advocating for it. However, there is a lack of in-depth research on the large format digital sensor, leading to various misconceptions and PR-driven descriptions. This study aims to provide a technical and artistic analysis of the digital large format sensor, as well as the factors that contribute to the so-called "large format look." This analysis is conducted through a visual comparison of a large format camera, the ARRI Alexa 65, and a Super 35 camera, the ARRI Alexa Mini. This helps to understand the appeal of the large format sensor today and whether or not the factors studied are a direct result of the larger size of the sensor.