View Poll Results: Which cameras color do you prefer form the Full Frame Cinema Shootout 2020

73. You may not vote on this poll
  • 1

    54 73.97%
  • 2

    2 2.74%
  • 3

    9 12.33%
  • 4

    2 2.74%
  • 5

    0 0%
  • 6

    1 1.37%
  • 7

    3 4.11%
  • 8

    1 1.37%
  • 9

    1 1.37%

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  1. #91  
    Senior Member luigivaltulini's Avatar
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    Oct 2009
    Switzerland- LUGANO
    Well ehehe
    Basically ALexa and Monstro as far as I'm concerned are the best.

    I'm surprised with the FX9, it is really getting better (for the cost) ... I have to take it into consideration for some jobs ....
    Grading Suite Davinci Resolve, Rental RED Digital camera.

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  2. #92  
    Senior Member Mark K.'s Avatar
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    Apr 2007
    Melbourne, Australia
    Super interesting. Venice was the standout to my eye - I know it's a great camera, but I wasn't expecting that.

    Kinda shocked by how well the LF handled the 6-stops underexposure test. With the lower resolution I was expecting it to block up more than the higher res cameras, I guess those fatter photosites are just better under pressure than the rest. The Venice does a noticeably better job of keeping the colours pure though, which is more useful to me overall.
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  3. #93  
    Senior Member
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    Dec 2014
    They all look sterile. Except for #4, that is. :)
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  4. #94  
    Quote Originally Posted by Joe Cage View Post
    Well no, but you would want to make your film the best it possibly could. And the alexa LF looks the most amazing, and even if it would only help 5% getting submerged into the characters/story more. It would already be worth that for most.
    (not to mention saving time in post making it look great)
    Looks most amazing to you and to a plurality of video professionals participating in this exercise. But does that necessarily mean the ARRI will most look amazing to the general public and will always most help an audience become submerged regardless of the genre of the film and regardless of the visual style of the film? The ARRI will most benefit a period drama shot in 24p and will also most benefit a sports documentary shot in 60fps?

    Sorry, don’t mean to rain on the fun of comparing camera models.

    The devilish part of me would like to see someone post a survey like this but the clips are all from only one camera, the image tweaked in different ways, and forum users are asked to guess which clip is from which camera on a list of camera models. Unlikely that anyone would correctly answer that all the clips are from the one make and model of camera.
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  5. #95  
    Junior Member Daniel Bichler's Avatar
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    Sep 2016
    Munich, Germany
    I voted for camera #3, because I really loved its look in daylight exterior. Amazing, that this one was shot on RED Monstro!
    Is this because of Light Iron Color? Could you please share a FRAME with and without Light Iron Color?

    Camera #3 (RED Monstro) is also very soft compared to camera #1 (Alexa Mini LF) in the studio interior base exposure test. Resolution matters!
    Zeiss Otus 28, 55, 85

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  6. #96  
    Senior Member
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    Apr 2007
    New York, NY
    Quote Originally Posted by Aaron Lochert View Post
    Looks like Luigi wins :)

    We all win getting to see these nice tests for free. But if we're getting picky, I did guess right on the very first response but was asked to edit it so as not to give it away.

    Luigi and I are the only people who actually guessed though and both got it so I suppose it wasn't that hard if you know these cameras, but I guess that wasn't supposed to be the challenge exactly.
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  7. #97  
    Senior Member Jacobo Martinez's Avatar
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    Jul 2013
    First of all, LF is king, period. The surprise for me was the FX9, $10k camera that has superior highlights than 500mkii, monstro, etc..! WOW. When there is good balanced lighting, all are Good cameras. Monstro has beautiful colors in daylight, in mixed lighing, not so much. Sigma, for now, is a toy. 500mkii is truely disappointing for me in regards of DR.

    Thanks for this test and all the effort that it takes to do this.
    Instagram: insta_jakob_films
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  8. #98  
    Quote Originally Posted by Patrick Tresch View Post
    Its not a ccd but CMO with a debayer process going on. The debayer algorithm has more incidence than scaling IMHO.
    Can you show me some sample of those scaling artefacts. Pixel to pixel VS downscale with cmo?
    I don't want to hijack the thread and this is not Red related, feel free to PM me but the overview is simply that the sigma is 6K sensor and outputs a UHD cDNG file based on some form of scale internally. That scale that happens is okay, but not as clear as it could be perhaps. I've had no issues with it but some others have. There is a mode which just does a 1:1 pixel crop of the sensor so it's easy to compare. Maybe one day we can get 6K RAW out of it - but we don't know if the hardware can do that...

    insta: @paul.inventome
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  9. #99  
    Senior Member Aaron Lochert's Avatar
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    Oct 2013
    Tucson, AZ
    Thanks Evin for the test. I am curious if you have any plans on releasing any of the content in their raw formats or at least single frames. I ask because I would have liked to have seen RED processed with straight up IPP2 and the Venice processed with the s709 V200 LUT and not the LC-709.
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  10. #100  
    Senior Member Antony Newman's Avatar
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    Mar 2012
    London, UK.
    Arri's colour seems to be consistent across all brightness levels.

    Red Monstro's RGB balance does not look consistent over brightness levels. It seems that colours are less faithful for brighter imagery. Is this due to the LUT applied?

    Is there a step that colourists are using on Red footage to make the colours more consistent before any creative colour modifications are applied (or does all footage require tweaking differently depending on the image brightness?)

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