Howard Roll wrote:Evident to whom? We're not talking about Red, are you saying that you've personally had issues with LF and 65 footage? The Arri stitching process is seamless (pun intended) to the end user.
It has been visible under certain circumstances, not critical but less than ideal, as I say. The point is 3 fold really. Arri are a profesional niche manufacturer who do not look to the internet for customer feedback, Hollywood etc. is their direct market.
Right from the start their success has been knowing that bigger pixels = greater DR, adequate readout and sensitivity and that is better than pure resolution. Their Super 35mm cameras have though fallen off the loop in that perceptual market resolution now. And so they have developed a sensor that meets both these requirements.
Since it appears to still be difficult for a number of engineering reasons to produce a single sensor at greater than Super 35 with all those qualities
and higher resolution, currently, it seems they have chosen to start with a new sensor at the smaller size.
Since to my mind, it has been conclusively proven that there is no real cinematic or qualitative advantage of LF over Super 35, the only valid reason will be to have those big pixels at higher resolution, afforded by full frame and +. And so I imagine that may come to pass in the future when such a single sensor is possible to manufacture. Until then this sensor may be stitched for a larger format too, to meet that market requirement.