Full Frame Cinema Shootout 2020...

[Šabović Adis]

Great Test Evin, thank you.

Yes the current fp firmware has fixed this and they have been super attentive to other issues and requests. I grabbed one as a quick B cam because of the size and i'm blown away by the results. Benefits of full RAW and no compression give a nice solid image. The only thing i'd say is because it's 'generic' cDNG then there is no one workflow that does it all and i've found that working with the RAW images under an IPP2 workflow in Resolve yields very very nice results and a good match to Red footage - albeit with at least 2 stops less range.

You can spot the sigma in hand held because it's too light to hold, needs rigging and weighing down!

When comparing these you have to bear in mind how much the sigma is.

5 has an odd black curve where it's crushing the very very shadow part.

All of them look really good though...

Kindest,
Paul

Helium, methinks. :)

[Chuks Ude]

Thanks for taking the time to do this great test Evin, much appreciated as it's good to see this group of cameras shooting the same subjects. Just out of curiosity, did you consider including the Lumix S1H in this test, or did you specifically leave it out?

[Noah Yuan-Vogel]

Helium, methinks. :)

9 probably has to be helium since Evan said it was only used in the studio and only the studio has #9. Similarly #8 must be gemini because it wasn't used in the day exterior.

As for #5... Its not hard to imagine which setup baked some odd contrast gamma that's hard to recover from.

[Evin Grant]

Can you list the different creative luts you used on the different cameras?

Here you go Jarred...
Reds iPP2 w/LI_Color2 709
Sony FX9- Slog3+Allister Chapman's FX9 LUT
Sony FX9- S-Cinetone/No LUT
Sony Venice Slog3Sgamut3.CineTolC-709
Arri Mini LF- K1S1
Sigma FP- Neutral/ No LUT
Canon C500mII- Cinegamut_CanonLog3-709-WideDR

[Evin Grant]

Thanks for taking the time to do this great test Evin, much appreciated as it's good to see this group of cameras shooting the same subjects. Just out of curiosity, did you consider including the Lumix S1H in this test, or did you specifically leave it out?

I did but I didn't have access to one and couldn't find one available within the timeframe of the test.

[Evin Grant]

Very nice test! Thanks!

Did you compensate the -6 stops underexposed .R3D footage with ISO or with a normal exposure adjustment?

ISO with a little bit of fine tuning with exposure.

[Hrvoje Simic]

Reds iPP2 w/LI_Color2 709
Sony FX9- Slog3+Allister Chapman's FX9 LUT
Sony FX9- S-Cinetone/No LUT
Sony Venice Slog3Sgamut3.CineTolC-709
Arri Mini LF- K1S1
Sigma FP- Neutral/ No LUT
Canon C500mII- Cinegamut_CanonLog3-709-WideDR

Important to stress here:


Camera tests like these display camera + transformation results.

[Jeff Kilgroe]

Would have been nice to see #8 and #9 in all settings.

The first night exterior setup broke consistency with #4 and again with #7. Is this just how it worked out for some weird reason or is it to not show something with those cameras; ie: the out of focus lights in the background?

I liked some of what I saw from #8 and #9, but I guess I'm going with ones I could see in all of the setups. And I liked #1 the best of those.

Nice work all around though. Not often we can see a camera selection like this shooting the same setups.

Can you list the different creative luts you used on the different cameras?

#4 used the "Extra mustard on the hotdog" LUT.

[Blair S. Paulsen]

On properly exposed scenes, matching all these cameras 98% with careful grading is possible. That said, I concur with Evin that each one has its own subtle signature. I also believe that in most shooting scenarios, other variables leave a stronger imprint than native camera properties. By controlling the situation (as much as one can) I think Evin's test is valuable - even if just to quell some of the more strident claims from all quarters about how radically better one camera is than the others.
Thanks for the effort to help us all better understand our tools.

Cheers - #19

[Jeff Kilgroe]

On properly exposed scenes, matching all these cameras 98% with careful grading is possible.

This for sure. On all the exterior shots, day or night, I saw nothing that would keep me from using any of these cameras. And nothing that would indicate I couldn’t grade each of these cameras to match and intercut with the others. ...Nothing to indicate that I wouldn’t be able to get the look I want from any of them. Of course this is looking at them through Vimeo beer goggles, but a great example of how silly a lot of the camera comparisons and camera A being better than camera B claims can get. That said, for me it’s mostly about workflow and I love where we’ve ended up with R3D workflow flexibility these days.