For many years, high-end live production cameras have predominantly utilised three 2/3in CMOS image sensors in combination with a prism beam splitter and B4-mount lenses. This configuration has been widely regarded as the optimal balance of image quality, depth of field, lens compatibility, and operational flexibility across a broad range of production scenarios.
In recent years, however, the landscape of live production cameras has evolved. New configurations have emerged — differing in both the number of image sensors and the size of the image sensor — each influencing the choice of lens mount and the design of the optical system.
But what are the trade-offs between single-sensor and three-sensor camera systems, and how do different sensor formats, such as 2/3in and Super 35, influence those choices? This paper explores these considerations to help guide the selection of the most appropriate imaging architecture for today’s diverse live production needs.
