Just watched first part of zacuto shootout....

[Marc Wielage]

Wait, wait, wait. That's exactly what we did in part 3 of Revenge. One DP, three different shots, all shot by Bruce Logan ASC and color timed by the same colorist at FilmWorkers Chicago. No lighting changes between cameras.

OK, that part I didn't understand. Still, I think there was some fudging that wasn't 100% fair across the board.

The guys at this link seem to feel the same way:



http://provideocoalition.com/index.p...out_continues/

I'm just sayin'.... there is quite a bit of dissent on the net. I still believe one DP, one lighting setup, and one colorist that precisely matched every shot would have been a fairer competition. You can argue 2K or 4K either way, but that's another factor worth taking into consideration.

[peter roehsler]

I was afraid to watch the test - what IF I like camera x better than mine?
After having sat through endless blabla I was relieved to learn that my favorite camera was the one I use anyway.
So by Zacuto´s standards (?) I am safe with camera C :)

[Ned Wilson]

I actually kind of feel bad for Ryan Walters, because I got the sense he tried really hard, and did the best he could.

From what I remember...some of the other DP's at the shootout were ASC Guild members...ie Industry Heavy Weights...

How fair a fight was this, really?

I mean...because the shootout puts so much emphasis on the choices each DP brings to the table...what are we really seing?

How good the Epic or Alexa is? Or how good the DP lighting the scene was?

That's the main FLAW with this test.

If you read his blog, RYAN clearly did the best he could. But when you read his blog, you also get a sense that were other DP's there with vastly more experience than him. I think it was unfair position to put him in, and a silly way to compare the cameras. Zacuto should have waited till every camera had an ASC guild member at the helm, then it would be fair. Anything less is not acceptable.

Having an ASC member on every camera still doesn't confer quality let alone consistency. The test should've had one DP, same lighting for each camera. Done.

[António Fagundes]

OK, that part I didn't understand. Still, I think there was some fudging that wasn't 100% fair across the board.

The guys at this link seem to feel the same way:



http://provideocoalition.com/index.p...out_continues/

I'm just sayin'.... there is quite a bit of dissent on the net. I still believe one DP, one lighting setup, and one colorist that precisely matched every shot would have been a fairer competition. You can argue 2K or 4K either way, but that's another factor worth taking into consideration.

He's right.

But now I do get why Zacuto did the let the DPs mess about with the light on each camera test. The camera itself, its almost an abstract tool, a DP will be able to use this tool to serve whatever purpose is needed of him/her. In this case, to control the high contrast ratio. And remember, that to achieve this, the GH2 had to use a lot more light, maybe that's why it also had a somewhat more pleasing look to some people's eyes.

But also, regarding the GH2, its like asking people if they prefer a Beef Bourguignon or a Big Mac. It would be a close one, and the Big Mac probably wins, because they both taste good (if you're a meat lover). But that doesn't even begin to explain the differences in quality between the two.

And what the f**** was Coppola doing in there anyway? When was his last good movie? Oh that's right, 30 years ago.... shot by someone called Storaro! Mr. Coppola is God, but also a complete ignorant in visual taste. He's the one who would choose the Big Mac instead of the 5 Michelin star dish, comparatively.

In the end of the day, cinematography, is really is about the DP. It has to be, and it always will be. That's why Mr. Spielberg has been shooting with for nearly 20 years with the same DP, he could get anyone he wanted, but he wants Janusz. He's not only technically a master, but also very fast on set. He's also extremely creative, always finding new visual ways to shoot each script. And these are only a few of the qualities that make up a 'good' DP. A camera to these folks is not really that important, as is the way it will affect their workflow and more importantly, the way it affects or aids their creativity.