To calculate the crop factor we divide the larger corner-to-corner measure by the smaller. The diagonal of the 35mm frame is 43mm . Therefore, a micro four-thirds camera with a crop factor of 2x has about twice the depth-of-field (and thus half the background blur) of a full frame camera, even after you multiply the focal length by the crop factor.
Simplistically the crop factor is just the ratio between the sensor width (or height) of a system relative to the full format (e.g. 36mm / 24mm = 1.5x for APS-C). Now you may notice that this is actually not so easy for Micro-Four-Thirds because the image ratio is different (4:3 vs 3:2).
Cropfaktor translation in German - English Reverso dictionary, see also 'Croupier',Cracker',Cr',Croissant', examples, definition, conjugation
Jun 19, 2017 · APS-C is 1.52 crop on the SL. 4K is shot at 4196x2180 max. This is Super 35, or slightly smaller than APS-C with about a 1.55 crop.
The C70 has a crop sensor ("super 35"), not an FF sensor. If you use the RF-EF-FR adapter on an R5 you'll a roughtly APS-C sized image on your sensor with black borders due to the baffles in the adapter.
The Super 35 is natively 16:9, 24.89 mm × 18.66 mm with a diagonal of ~28.5mm. The crop factor will be the ratio of the two diagonals, 41.3 / 28.5 = ~1.44x, typically mentioned as 1.4x. For visual reference: Field of View Calculator
OvinceZ wrote: billg414 wrote: You can set this to return to full frame by switching to movie mode then setting the Super 35/Crop to Super 35. Then, return the mode dial to still (A,P,M or S) and while in that mode set the Super 35 menu item to auto.
EPIC-W’s 35 million pixels capture subtle features and tiny nuances that can’t be seen at lower resolutions. At 35.4 megapixels, that’s 4x more resolution than 4K—and over 17x more resolution than HD. Like the WEAPON 8K S35, EPIC-W combines advanced color science with incredible dynamic range.
Super 35, 16x9 aperture is 24.89 mm × 14mm (0.980" × 0.551") ... Crop factor figures are misleading, in that they are usually quoted in comparison to full frame stills