Full Frame

What this is about

Full frame changes how familiar focal lengths feel: for the same framing you stand where you stood, but with a wider lens and noticeably shallower depth of field. DPs pick the format for that rendering — faces separate from backgrounds at moderate stops — and for low-light headroom from larger photosites. The costs are practical: the lens set must cover the image circle, focus pulling gets less forgiving, and rental budgets climb. The camera test tells a crew whether the look justifies the friction.

A term only helps when everyone on set means the same thing by it — so what follows is how it is used, not a dictionary definition.

What runs differently here

In planning terms, that means:

• Same framing, one format up: expect roughly a stop shallower feel compared to Super 35 — a rule of thumb, not a formula.
• Not all cine glass covers full frame; coverage lists decide the rental order.
• VV or large-format labels on cine cameras mean full-frame-class sensors, sometimes slightly larger.

With TillyGen

TillyGen ties lens coverage to the chosen sensor format in the equipment list, so a full-frame project cannot quietly book Super 35 glass.

Change one constraint and the consequences travel through the whole plan: affected shots are flagged, the call sheet is regenerated, and nobody keeps working from yesterday's version.