FULL FRAME MEANING CAMERA FULL
It's more difficult to see the differences between the Super 35mm image and the Full Frame image because of the limitations of presenting these small, compressed images on your computer screen. In the images below you can really see the presence of noise in the Super 16mm format example. Because the Alexa LF sensor is so much larger than the Alexa Mini sensor, the Alexa LF’s images would need to be magnified less than the Alexa Mini’s images, therefore the appearance grain or “noise” would be less in the Alexa 65. So if you kept the camera’s settings the same (aspect ratio, ISO, shutter, codec, etc), and projected the two films onto the same size screen, like with film, you will see that same aesthetic differences in regards to grain (or "noise" in the case of digital). If you shot two theoretical projects, one on an ARRI Alexa Mini shot at 3.2K, and one shot on an ARRI Alexa LF in 4.5K, both camera’s sensors have the same size photosites. So the film grain in 35mm film would appear larger and more noticeable when compared to the film grain in the 35mm film. If you then projected each film onto the same size screen, although the film grain would be the same size in both stocks, due to its smaller physical size, the Super 35mm print will need to be magnified more than the IMAX print for projection, and so the size of the film grain would also be magnified more. If both of these hypothetical films were shot using the same film stock, they would both have the same size film grain.
With film, when projected onto let’s say a 60-foot-wide theater screen, a Super 35mm print has to be magnified more than an IMAX print to illuminate the entire 60-foot screen. Whether the images are being watched on a cell phone or an IMAX theater screen, the original recorded images will be magnified to some degree.
When we finally show our recorded images to an audience, they are magnified from their original size (the size of the sensor or of the film used to capture the images). One of the simplest differences to understand is the magnification of the recorded image. Where you will see the biggest aesthetic differences between images captured with various sensor sizes are the magnification of film grain, (and the magnification of a digital sensor's noise), and the ability to blur backgrounds relative to the subject of an image. Both formats' use of a much larger negative resulted in images that had a higher resolution and finer film grain. Paramount took a different approach and in 1954 developed a format called VistaVision which utilized 35mm motion picture film running through the camera horizontally instead of vertically, resulting in a film gate that was 37.72mm x 24.92mm. In 1952 the Todd AO system used 70mm film with a film gate of 48.56mm x 20.73mm.
Anamorphic processes like Cinemascope allowed a widescreen format captured using specially designed optics to squeeze an image onto a larger 4-perf negative, which was then de-squeezed for theatrical release. One such format was Cinerama which captured images using 3 separate film cameras stacked side-by-side-by-side and then projected using 3 separate film projectors, which naturally gave the audience 3 times the detail and allowed for larger screens to project onto.
FULL FRAME MEANING CAMERA MOVIE
The introduction of larger film formats came from a need to get people to buy more movie tickets, especially with the growing popularity of television in the 1950s. The creation of larger film formats for motion picture capture began decades later, but in a similar way. Oskar Barnack while working for Leica took 35mm motion picture film and rotated it 90 degrees so that it would run through a camera horizontally, and created a much larger film gate that was 36mm wide by 24mm tall, which gave us the 135 still photography format which is still the standard for photography today. In those modern film cameras, the standard Super 35mm film gate measures 24.89mm × 18.66mm. In the 1920s the 35mm motion picture film format had been in use for years, with the 35mm film running vertically through the camera, just as it still does today through cameras like the ARRIFLEX 235 and Panavision Millennium motion picture film camera.
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