R22.80 November 2011 www.thecallsheet.co.za
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DIGITAL CAMERA SHOOTOUT GENERAL INDUSTRY
sults I would like to state that each camera has its own strengths and weaknesses. Each camera can be made to look great in the right hands, of course. The conclusion that follows is my personal interpretation of how I saw these cameras behave. It is an observation and is in no way a definitive benchmark for the camera mentioned. For the GS setup we used 2x 2K Tungsten to fill the green and an image 80 for the subject, a Zeiss 85 Ultra Prime at f8 was used by all cameras.
CINEMATOGRAPHER Grant Appleton tested seven popular cameras in a camera shootout to discover which one was best.
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N a galaxy far far away existed a range of digital acquisition cameras, revered to be the greatest cameras of that time. Some claimed to have a dynamic range of 14 stops; the ability to shoot at night in natural ambient light; to see further into the blacks than ever before and they could even record their images onto a myriad of various stand alone recorders. The seven cameras tested (all shot with Zeiss Ultra Primes) were: • • • • • •
RED MX - ISO 800; red gamma 2; red colour 2; red code 36; 4K 16:9 RED Epic – ISO 800; red gamma 2; red colour 2; CF card 4:1; 5K full frame Arri Alexia – ISO 800; Log C; SxS card 4:4:4 Pro Res & SRW 1; HD 16:9 Sony F3 – ISO 800; Log C; SxS card & SRW 1; HD 16:9 Sony F35 – ISO 450; Log C; 4:4:4 SRW 1; HD 16:9 Canon 5D – ISO 800; CF Card 4:2:0 H.264; HD 16:9
Phantom HD – The Phantom I am going to omit from this report as I believe it is specialist camera. To use it as a 25fps conventional camera is not what it was designed for. Take 2 Films generously provided the cameras. I pondered the various ways of testing them to find a common ground so as not to favour any particular device. The strategy for the tests was to
examine the cameras’ native capturing abilities, to look at its raw file format and see how they compared against each other. We wanted to see how each would hold up in a green screen scenario lit with tungsten lights, so we designed a still life setup with a stop range f2 – f45 and ventured into the night to shoot a cityscape and face portrait with only available light. We had our work
cut out as these cameras were only available for one day, a sign that they were indeed the most popular with the locals. We finally landed at Libra Vision where we were greeted by Andre Hening and his crew to help us conduct these tests. We set up in Libra Vision’s green screen studio and began with a tungsten lit GS scene. Before I conclude these re-
Green Screen setup RED MX had some green bleeding into the shadow areas of the subject’s face we only noticed this on the MX. The key was acceptable though. RED Epic produced a good key the 5K sensor providing great detail to separate the edges from green. I was impressed with the Sony F3’s ability - it handled the key surprisingly well it was certainly able to produce an acceptable key. Arri Alexia provided an excellent key, as did the Sony F35 with its CCD sensor. Canon 5D is not an option for GS work, I would not advise using it in a GS environment. Continued on page six