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Thread: The Great Camera Shootout

  1. #1

    Default The Great Camera Shootout

    I just watched this:

    Revenge of The Great Camera Shootout Part One | Zacuto USA

    I've not watched part 2 yet to see where they go with it but the link is directly below the player where part 1 is shown.

    David.

  2. Default

    I enjoyed watching this

  3. #3

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    I just noticed that they put a part 3 up for this. It's well worth a watch and adds important details missing from parts 1 & 2.

    Revenge of The Great Camera Shootout Part Three: Pixel Peepers | Zacuto USA

    David.

  4. #4
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    Glad you posted this David. It reminded me to watch the rest of parts 1 and 2!
    Tim

  5. #5

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    No problem Tim, it's all well worth watching and full of great comparisons and thoughts.

    David.

  6. #6
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    Default

    Brilliant to see pros and their very fancy kit - then you learn one camera is an I-phone . . . Ooo-er.

    The problem I have is the scene is badly lit from the start . . . and these basic conditions are not allowed to be changed.
    This is the Rule.

    However, each operator is allowed to play with indoor lighting (but No camera movements).
    So, I wonder how is it possible to compare these cameras if there is so much "tweaking" allowed - yet the Fundamental problem (Contre-jour) is always present. Surely all scenes should be the same? ( i.e. not changes other than in-camera settings).


    Seems also that Sony got their footage back to the lab and had a lengthy play - surely that's not in the Rules? Was the I-phone played with I wonder . . . it was one of the "better" versions . . . however, because each Operator could slightly change the room-lights; - For me, it become more an Artistic-issue of whose lighting you prefer . . . . OR am I wholly wrong....? (as usual.).
    Last edited by vidmanners; 09-03-2012 at 01:10 AM.

  7. #7

    Default

    The problem I have is the scene is badly lit from the start . . . and these basic conditions are not allowed to be changed.
    This is the Rule.

    However, each operator is allowed to play with indoor lighting (but No camera movements).
    So, I wonder how is it possible to compare these cameras if there is so much "tweaking" allowed - yet the Fundamental problem (Contre-jour) is always present. Surely all scenes should be the same? ( i.e. not changes other than in-camera settings).


    Seems also that Sony got their footage back to the lab and had a lengthy play - surely that's not in the Rules? Was the I-phone played with I wonder . . . it was one of the "better" versions . . . however, because each Operator could slightly change the room-lights; - For me, it become more an Artistic-issue of whose lighting you prefer . . . . OR am I wholly wrong....? (as usual.).
    You need to watch all 3 parts, you've missed the point. It is comparing the cameras on their own, and the artist merits of the film makers too.

    The scene was very well lit and with a great deal of thought gone into the reasoning. It was lit intentionally, and with the sole purpose, to push the limits of testing how the different cameras handle issues related to the dynamic range.

    Each camera operator was allowed to make a minimal amount of adjustment to the lighting to suit their camera, then it was taken into Baselight where a minimal amount of time was allowed for grading, this is what was compared in part 2.

    In part 3 they taken it a bit further. They tested all cameras with the exact same lighting, no adjustments to suit. All the shots were graded to match as close as possible and then graded for artistic purpose. They compared the footage straight out of the camera, then the matched footage, then the shots graded artistically to suit each of the cameras characteristics.

    David.

  8. #8

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    What I got from it was the importance of knowing the limitations of what you have and work with that. As David said the lighting was set to test both burning out in the whites and noise in the dark areas. To be honest until some of the "issues" where pointed out they all looked good to me.

    This just goes to show how using the tools right can really make a difference.

  9. #9
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    I have to disagree that the Scene was well-lit. (Post#7) It was lit with the sole purpose of making it difficult, presumably otherwise it would result in no competition.

    However, what I saw was that by the time the footage has presented itself over the internet, there's not a lot between the cameras. Wow! thats a situation that could not have happened much before 2012.

    I agree there was a lot of useful comment and a range of camera-prices to suit all pockets. Of course they did have the advantage of pro-actors and some pretty sturdy tripods.
    + It would be such a privelage to attend and hear from the horse's mouth, as it were.....


    EDIT Post#10) "massive differences"....really? Er, So much that none of these pros could say which was which before being told (-bar a few lucky guesses-).
    + If I'd blown my budget on a 30k camera/lens combo and it was beaten by the Iphone I'd be thinking "Huh!"
    Last edited by vidmanners; 09-04-2012 at 01:34 AM.

  10. #10

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    However, what I saw was that by the time the footage has presented itself over the internet, there's not a lot between the cameras.
    Obviously were not seeing the full res versions that they seen, but even so. I see massive, and I feel the need to repeat, massive differences between the cameras.

    David.

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