The TRUTH about the MICRO FOUR THIRDS System

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Leon Benzakein

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The TRUTH about the MICRO FOUR THIRDS System

PostFri Sep 07, 2018 7:44 pm

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Brad Hurley

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Re: The TRUTH about the MICRO FOUR THIRDS System

PostFri Sep 07, 2018 9:41 pm

Wow, that's amazing about how the 4/3 system got its name. Using the same naming convention, today would be August 38th, 2018. :D
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Denny Smith

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Re: The TRUTH about the MICRO FOUR THIRDS System

PostSat Sep 08, 2018 6:33 am

Yes, this is how all the early CCD and CMOS/MOS sensors were named, 1/3rd, 1/2, 2/3rds, 1-inch (S16), and 4/3rds. It is not their actual size, but rather the size of the tube, and not the actual size of the sensor.
Yes, this is a little confusing.

Digital Cinema cameras actually started out with 2/3rds, 3-CCD Cameras that had a B4 Mount, which is a smaller sensor than S16, (which is almost a 1-inch sensor). So Cinematography went from 16mm/ S16mm film to 35mm film, and 70mm film, then to a smaller gate size with the 2/3rds sensor. It only took a few years to get the sensor size back to standard Academy 35mm (18x24mm) gate size, then to S35 used today. Now the technology is pushing it even further to Full Frame 24x36mm sensor, catching back up to the 70mm film CinemaScope format.

With the release of BM’s Ursa Broadcast B4 Mount Camera with a 1-inch sensor, you can use those earlier 2/3rds Zeiss Arri DigiPrimes and, if you can find one, a DigiZoom. Also Fuji made some of its better ENG zooms and created some Cine Zooms in 2/3rds B4 mounts, as did Angenieux with their Hzr B4 zooms. Then you can create some retro early style digital films, or use the Ursa Mini Pro PL mount, and turn the Broadcast into a S16 Cinema Camera for some even better retro style S16 films. This gives you a larger base of PL, S16 lenses to draw from, including some of Stanley Kubrick’s favorite Ultra Wides.
Denny Smith
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