As a filmmaker, I’ve used a range of cameras over the years, from full-frame beasts to compact Super 35 (S35) workhorses. Each sensor size has its strengths, but I’ve found myself returning to the Super 35 format time and again—and my experience with the Sony FX30 has reaffirmed why I love it so much. In this post, I’ll dive into the value of the S35/APS-C sensor, explore its history and resurgence, and share my journey from Blackmagic’s full-frame system to embracing the reliability and utility of Sony's ecosystem.
Super 35: The Gold Standard of Cinema
Let’s start with the history. The Super 35 format isn’t just a relic of the past; it’s a cornerstone of cinema. For decades, 99 percent of Hollywood movies were shot on Super 35 film, from classics like The Godfather to modern masterpieces like Dune. There’s a reason for this. The format hits the sweet spot between image quality, depth of field, and versatility. It allows filmmakers to achieve that cinematic look without the sometimes excessive shallowness of full-frame or the technical limitations of smaller sensors.
In fact, even ARRI, known for its industry-leading cameras, recently doubled down on the S35 format with the launch of their Alexa 35. As cinematographer Greig Fraser puts it, “Super 35 has been the backbone of filmmaking for decades. It’s not just a format; it’s a philosophy.” That’s a sentiment I feel deeply, especially after working with the Sony FX30.
Why Super 35 Works for Filmmakers
One of the most compelling benefits of S35 is its balance. Unlike full-frame, which often leans heavily into shallow depth of field, Super 35 gives you more control over your focus. For narrative work, where maintaining focus on moving subjects is critical, this can be a lifesaver. I’ve shot countless scenes where I needed just a bit more depth to keep my actors in focus while preserving a cinematic look. The FX30’s Super 35 sensor delivers that effortlessly.
Another advantage is lens compatibility. The S35 format opens up a world of affordable, high-quality cinema lenses. I’ve been blown away by the incredible range of APS-C and S35 lenses available, from vintage glass with character to modern cinema primes. One of my favorite setups with the FX30 has been pairing it with affordable cinema lenses like the Meike primes. These lenses deliver stunning results without breaking the bank, and the smaller sensor size makes them feel right at home.
How Full-Frame Compares
I’ll admit, I’ve enjoyed working with full-frame cameras in the past. Blackmagic’s full-frame options, for instance, produce beautiful images with incredible dynamic range. The depth of field you can achieve with full-frame sensors is undeniably striking, and in the right context, it’s a powerful storytelling tool. However, I found that full-frame sometimes became a limitation rather than a strength.
For example, when shooting dialogue-heavy scenes, full-frame’s razor-thin depth of field often meant I needed to stop down significantly to keep both actors in focus. This defeated the purpose of the larger sensor, leaving me wondering if I was overcomplicating my workflow. On the other hand, the Super 35 format strikes a natural balance, offering cinematic separation while still being forgiving enough to shoot fast-moving action or dynamic blocking.
The Sony FX30: S35 Done Right
The Sony FX30 embodies everything I love about the Super 35 format. Its sensor is a joy to work with, offering incredible sharpness and detail thanks to 4K oversampling from a 6K sensor. The dynamic range is fantastic, capturing nuanced highlights and shadows even in high-contrast scenes. For me, the S-Log3 profile combined with Sony’s Catalyst workflow has made grading a dream.
What really won me over, though, is the reliability of Sony’s system. I’ve been on shoots where time is money, and gear failure simply isn’t an option. The FX30 has never let me down. It’s built like a tank, has fantastic battery life, and integrates seamlessly with my other gear. Features like advanced autofocus, gyro stabilization, and customizable shooting modes make it incredibly versatile. When you’re juggling multiple projects, this kind of reliability and utility is invaluable.
The Practical Benefits of S35 in My Work
One of the things I’ve appreciated most about the FX30 is how easy it is to use on a variety of shoots. As someone who works on everything from commercials to short films, I need a camera that adapts to different styles and workflows. The FX30’s compact size and Super 35 sensor make it a perfect fit for handheld work, gimbal setups, and even drone use.
I recently shot a narrative piece with the FX30, relying heavily on natural light. The S35 sensor handled it beautifully, delivering rich colors and crisp detail while maintaining manageable depth of field. Switching between my go-to Meike primes and a vintage Helios lens gave me incredible flexibility in crafting the look of each scene.
Cinematographers on Super 35
It’s not just me who values the Super 35 format. Legendary cinematographer Roger Deakins has famously championed its merits, saying, “It’s not the sensor size that makes a film cinematic; it’s how you use it.” That’s something I’ve found true in my own work. The FX30’s Super 35 sensor pushes me to think more intentionally about framing, composition, and storytelling.
Similarly, Bradford Young (Arrival, Selma) has praised the format for its ability to balance intimacy and scale. “Super 35 gives you just enough depth to draw the audience in, without pulling them out of the story,” he said in an interview. That sentiment resonates deeply with me, especially as I aim to create emotionally engaging films.
A Personal Shift Toward Sony
For years, I was a die-hard Blackmagic user, and I still respect their cameras immensely. The image quality, dynamic range, and color science of their full-frame options are phenomenal. But as my projects grew more demanding, I found myself craving a system that was more versatile and reliable.
Sony’s FX30 filled that gap perfectly. It’s not just a camera; it’s a tool that adapts to the way I work. From its excellent autofocus system to its rock-solid build quality, it’s a camera I can trust on any shoot. I’ve never had to worry about overheating, missed focus, or compatibility issues—things that occasionally plagued me with other systems.
The Resurgence of Super 35
The fact that ARRI has released a new Super 35 camera speaks volumes about the enduring value of the format. Filmmakers are rediscovering its unique strengths, and cameras like the FX30 are making it more accessible than ever. Whether you’re a seasoned professional or an up-and-coming filmmaker, Super 35 is a format that rewards creativity and intentionality.
Super 35 Are More Affordable
When it comes to Super 35 lenses, the affordability and variety available make it a filmmaker's paradise. Brands like Meike, Sigma, and Rokinon have created exceptional cinema lenses that deliver professional-quality images at a fraction of the cost of high-end glass. The Meike Cinema Prime series is a standout, offering a range of focal lengths designed specifically for Super 35 sensors. These lenses feature consistent build quality, smooth focus rings, and impressive optical performance, making them perfect for indie filmmakers or budget-conscious creatives. With sharpness, beautiful bokeh, and minimal breathing.
Classic used Super 35 cinema lenses are another fantastic option for filmmakers looking to elevate their visuals without breaking the bank. Vintage lenses like the Canon FD, Contax Zeiss, or even rehoused cinema versions of classic glass offer unique character and a cinematic aesthetic that modern lenses sometimes lack. These lenses often feature a softer look, subtle flaring, and distinct color rendition that can add depth and emotion to your projects. Used lenses like the Cooke Panchros or Zeiss Super Speeds, while pricier, bring a timeless quality to Super 35 filmmaking. Scouring the secondhand market or rental houses can yield incredible finds, allowing you to build a lens kit full of personality and history.
And at the super low budget end of things, there are plenty of amazing Chinese lenses from TT Artisan, Sirui, 7 Artisan and Viltrox that can be had for under $200! My personal favourites are the TT Artisan 35mm f1.4 and f0.95, 50mm f1.2 and the 7 Artisan 12mm f2.8. I highly recommend them if you are on a tight budget.
Shoot on the Format You Enjoy Most
The Sony FX30 has been a joy to shoot with, not just because of its technical capabilities, but because it embraces the spirit of the Super 35 format. It’s a camera that feels like it’s made for storytellers—lightweight, versatile, reliable, and packed with features that help you focus on what matters: creating.
For me, the FX30 has become more than just a tool; it’s a partner in my creative process. It’s helped me rediscover the magic of the Super 35 format, and it’s a camera I can see myself using for years to come. If you’re on the fence about sensor size or considering the FX30, I’d encourage you to give Super 35 a try. As Deakins reminds us, “It’s not the gear, it’s the vision—but having the right tools makes all the difference.”
Comments