» Posts Tagged ‘shootout’

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DP Timur Civan, who lensed my RED SCARLET test short and now has a SCARLET of his own, has done an apples-to-apples comparison with two of the top similarly-priced Super35 motion picture cameras currently on the market: the Sony F3 and the RED SCARLET. Timur has the luxury of owning both — and some flawless Cooke Panchro primes — and has set up a nice skin tone and still life test. Here it is: More »

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LED lights present a number of advantages — they tend to be more energy efficient, don’t give off as much heat, and should (in the future) have the ability to replicate various color temperatures without the need of gels. But they also have their cons, primary of which is the difficulty in mixing them with existing tungsten lights and other incandescent lighting, and a tendency to cast a blueish tinge. With that in mind, Art Adams, over at the ProVideo Coalition blog was approached by PRG to do a LED light shootout that compared a variety of LED lights with a standard tungsten light. The results are pretty interesting for anyone interested in seeing the state of LED lighting vs tungsten: More »

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I was waiting for part two to post this, so now that it’s live, here is Philip Bloom’s latest camera shootout pitting the Canon C300, Sony NEX5N, Panasonic AF100, Panasonic GH2, Canon 5D Mark II, Canon 7D, Sony FS100, Sony F3, and Nikon D7000 against each other in a variety of real-world situations: More »

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With all of the new cameras announced in the past few months, wouldn’t it be great to have a scientific comparison of them all side-by-side? Specifications matter less than the images they produce, after all, and Zacuto’s Great Camera Shootout has always been the go-to source for this. However, for last year’s shootout there were a number of cameras not yet ready: the RED EPIC, RED SCARLET-X, Sony F3 S-Log, Sony F65, Canon C300, and Canon 1D-X. If you haven’t already seen the 2011 shootout, it’s a must-watch, and it’s included in full below. Plus, here’s an exclusive first word on the next shootout — which will have some interesting twists — straight from Zacuto’s Steve Weiss: More »

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I’m always up for a demo of the Sony F3′s S-Log mode, especially when compared to the much more expensive but similar ARRI ALEXA. The F3 has been called a “mini ALEXA” in S-Log mode, and I suppose you could call the Canon 7D a “mini F3,” though no one’s claiming the 7D can hold up to the big boys — it’s here as a reference for HDSLR shooters. Here’s the test, carried out by Hello World Communications using Cooke Panchro lenses: More »

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The new iPhone 4S shoots 1080/30p video. No, I’m not saying you should use it to shoot a narrative film, but in terms of ubiquity we’re going to see a lot of footage from the 4S going forward — as an indicator of this ubiquity, the iPhone 4 is the single most popular camera on flickr. Those blurry cameraphone videos used on the news for eyewitness reports are certainly going to be a lot sharper, but how does the much-hyped new lens fare against the video quality of a Canon 5D Mark II? Here’s a shootout video from Robino Films, who set both cameras up on the same tripod and rolled simultaneous video: More »

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Zacuto’s excellent behind-the-scenes look at the Single Chip Camera Evaluation concludes with a comparison of motion artifacts, color and skin tone on the ARRI ALEXA, RED ONE-MX, Sony F3, Panasonic AF100, Canon 5D Mark II, Canon 7D, Nikon D7000, Kodak 35mm film, and a few others as well. Here’s the trailer; click on the image below for the full 25-minute episode. More »

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As part of a guy’s night out I saw the new Conan: the Barbarian the other night and it was honestly the first time I found myself thinking in a theater, “this is soft — I could really do with a 4K image.” It was also the first time I thought, “I bet my five year-old nephew could write this.” But then I read an honest and insightful post by screenwriter Sean Hood on Quora, and the behind-the-scenes answer (especially with three credited screenwriters) is never as simple as “it was badly written.” Getting back to the first thought about 4K, however, internet TV show Film Riot asks the question: once compressed for the web, how different are the RED EPIC and Canon 5D Mark II? Of course there’s a big difference in the theater, but how about on your laptop? More »

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Zacuto’s second episode of their documentary on the Single Chip Camera Evaluation conducted by Robert Primes, ASC is now live. The cameras tested include 35mm film (Kodak 5213 and 5219 stock), the Arri Alexa, RED ONE M-X, Weisscam HS-2, Phantom Flex, Sony F35, Sony F3, Panasonic AF100, Canon 5D Mark II, Canon 1D Mark IV and Nikon D7000. This episode includes a lot of great explanations about camera sensors, sensitivity, and noise, and even features an appearance by yours truly (at 27:00) where I try to explain sensitivity as “an alchemy that you can’t measure”: More »

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The first episode of Zacuto’s anticipated sequel to the Emmy award-winning Great Camera Shootout 2010 is now available. This year’s installment is a bit different than last year’s, as it’s actually a documentary on the Single Chip Camera Evaluation conducted by Robert Primes, ASC. The cameras tested include 35mm film (Kodak 5213 and 5219 stock), the Arri Alexa, RED ONE M-X, Weisscam HS-2, Phantom Flex, Sony F35, Sony F3, Panasonic AF100, Canon 5D Mark II, Canon 1D Mark IV and Nikon D7000. More »

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Just because the latest single-sensor digital camcorders allow you to shoot with available light does not mean you should shoot with available light. However, the importance of being able to should not be overstated. To that end, John Brawley put together a great practical test utilizing six different cameras in the same setting, in order to evaluate which format would work best for a forthcoming feature to be shot mostly on Parisian streets at night. The cameras/formats were Aaton 35mm, Aaton Super 16mm, ARRI ALEXA, RED ONE MX, Canon 1D Mark IV DSLR, and the Sony F3. Here’s the video of the test, which is refreshingly devoid of test charts and instead focuses on the devices as storytelling instruments: More »

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Dave Dugdale over at Learning DSLR Video pits the recently announced Nikon D5100 up against its similarly-priced brethren, the Canon T3i. Dave runs through low light, aliasing, and rolling shutter tests (be sure to watch it in HD). The interesting thing about the D5100 is, despite its visuals holding up pretty well in the comparisons, according to Dave it lacks basic manual movie controls (for those, you have to step up to the D7000), which makes the T3i a better choice for filmmakers. Here’s the shootout: More »

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First of all, Technicolor has released a new version (click on the “Registered User Download” tab) of its CineStyle LUT compatible with Red Giant’s LUT Buddy and Apple Color. Given CineStyle is proving tremendously popular with Canon DSLR shooters, how do the Canon DSLRs with the Technicolor picture profile compare with the Panasonic GH2? Andrew Reid from EOSHD shot a video comparing the two: More »

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Philip Bloom, Kessler University, and Documovie.co.uk have conducted a shootout between the Panasonic AF100, Sony F3, and Sony FS100 (with a Canon 5D Mark II thrown in for good measure). As Philip states on his site, this is not meant to be a scientific test, as is the Single-Chip Camera Evaluation being released later this year, but the tests are a good watch for anyone considering these camcorders: More »

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One of the highlights of NAB’s “content theater” screenings was the Single-Chip Camera Evaluation, the result of an exhaustive camera shootout conducted in February by Robert Primes, ASC and a full crew (totaling what was estimated at over 5,000 man- and woman-hours). After seeing the terrific half-hour presentation at Zacuto’s booth, I went back for a second look at the full presentation. While the images — which should be released online in the future — are far more important than the charts, here are some key results from the screening, which featured cameras ranging from the cheapest Canon DSLR to cameras costing hundreds of thousands. More »

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On-camera lighting is mostly used for ENG/documentary filming, but in a pinch it can be used to subtlety add to a dramatic scene. Especially in tracking shots, you’ll often see a grip walking a Kino-Flo alongside the camera, to keep a consistent light in the talent’s eyes. Of course, that’s not really “on-camera” lighting; while cheap LED lights that mount to a camera’s hot shoe are not going to offer the same quality, for news gathering and other uses they can certainly be handy. Thanks to Frank Glencairn, we now have a shootout between five different LED options, four of which are in the sub-$100 range. More »

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We’ve seen DSLR vs 35mm film comparisons, wherein DSLRs like the Canon 5D, 7D, T2i, and Panasonic GH1 prove to be untouchable from a price-performance perspective. But we all know that some day, a better camera will come out in the same price range. Everyone’s wondering which manufacturer will be the one to premiere such a camera — Sony, Panasonic, Canon, RED? As it turns out, the upstart manufacturer is none of the above. And the camera that bests the Canon 7D from a price-performance perspective? It’s available today. Here’s a shootout video featuring this new camera, filmed by Brandon Bloch: More »