In the most scientific camera comparison to date, “The Great Camera Shootout 2011: a documentary of the Single Chip Camera Evaluation (SCCE)” premieres with Episode 1: “The Tipping Point.” The first episode of the 3-part web series examines three SCCE Tests: The Dynamic Range Test, The Under Exposure Test and The Over Exposure Test.

Robert Primes, ASC, designed and administered the full series of tests.  “That’s right,” says Web Series Director Steve Weiss, “We didn’t want people to think that these tests were biased in any way. So Bob created the SCCE as an independent organization to conduct the testing.” Additionally, Bob Primes designed the tests with his own technicians and selected the cameras to be tested. “Our documentary is about the process that Bob took to design and conduct his tests,” says Producer Jens Bogehegen. "I don't think people understand the scope of this project which is the largest I've done in 29 years of production," says Weiss. "It was a 4 day shoot divided into two phases with 1 prep day for each shoot. Phase one had 128 crew members including specialists, 141 crew and specialists in phase two of shooting and a total of 772 people who were involved in one way or another including shooting, screenings & post process."

Last year’s Emmy Award winning series: The Great Camera Shootout 2010 “only focused on DSLRs, because they were new and no one really knew much about them,” says Steve Weiss, “But we received a lot of questions like ‘Why didn’t you include the RED?’ and the reason is because it was a DSLR test. This year, we have a different mission to test what we like to call cinema cameras –cameras you could potentially use to shoot a feature or short film.” The impressive 12-Camera line-up includes: 35mm Kodak 5213 & 5219 Film, Arri Alexa, RED ONE M-X, Weisscam HS-2, Phantom Flex, Sony F-35, Sony F3, Panasonic AG-AF100, Canon 5D Mark II, Canon 7D, Canon 1D Mark IV and Nikon D7000.

In addition to the SCCE tests, the web series features commentary from some of the top DPs in the industry, which was filmed at worldwide screening locations in Sydney, Amsterdam, New York, London, Las Vegas (NAB) and Hollywood “You’ll hear from indie filmmakers, event shooters, commercial DPs, directors and corporate filmmakers,” says Steve Weiss, “Although you are not watching these tests in a 2K theatrical setting, hearing such commentary from people in the ASC, BSC, ACS, CSC, NSC, ICG and the SOC, will help you evaluate the significance of these tests.”

This first episode of the series looks at the dynamic range and usable latitude of each camera. “We need to see how these cameras record real scenes,” says Jens Bogehegn. Thus, Bob Primes, ASC, designed an under-exposure scene and an over-exposure scene. In regards to methodology, the camera master had to set their camera to record the widest dynamic range and they were not allowed to change any settings between the two scenes. The combination of both of these scenes will show the usable dynamic range of each camera. “One interesting calculation that Jack Holm did was to see how each of the cameras distributed their dynamic range based on an Exposure Index rating of ISO 800,” says Weiss. “You can see how there is no standard as to how much highlight or lowlight latitude is recorded.”

The featured scenes are shot by Michael Bravin and lit by Matt Siegel and Nancy Schreiber, ASC. ***The featured tests include three scenes: a back-lit test chart shot by Michael Bravin, an under-exposure scene lit by Matt Siegel and an over-exposure scene lit by Nancy Schreiber, ASC. Come watch the first episode of the series, see the camera evaluations and comparisons, and hear what top DPs have to say about the SCCE tests and results. You don’t want to miss this!

Commentary in this Episode Features:
Academy Award Winner Russell Boyd ASC, ACS (Master & Commander: The Far Side of the World, Ghost Rider, Forever Young); Academy Award Nominee Don McAlpine ASC, ACS (Moulin Rouge, Patriot Games, X-Men Origins: Wolverine); Calvin Gardiner ACS; BAFTA TV Award Winner Nic Knowland, ASC (The Final Passage, Around the World in 80 Days); Emmy Award Nominee & ASC Nominee Gale Tattersall, ASC (House, Ghost Ship, Wild Orchid); Mykelti T. Williamson, Actor (Forrest Gump, 24, CSI: NY); Ken Glassing (CSI: Miami); Philip Bloom (Sophia’s People, Greenpeace: Voices of Change); Terry Hopkins (London Film School); Dan Chung, James Mathers (Digital Cinema Society), David Wexler (Broken, The Wind) and more.

CAST & CREW

The web series documentary features two different independent crews. The SCCE Crew: Administrator Robert Primes, ASC; Station Chiefs: Michael Bravin, Stephen Lighthill ASC, Nancy Schreiber ASC, Matt Siegel and Mike Curtis; Line Producer Josh Siegel. The Shootout 2011 Crew: Editor Karen Abad, Graphic Designer Chris Voelz, Producers: Daniel Skubal, Scott Lynch, Jens Bogehegn and Eric Kessler; Web Series Director Steve Weiss.

Additional SCCE Testing Methodologies:

All the manufactures were invited to be involved with the tests and provide a technician with their camera. In cases were the manufacturer declined to send a representative, Bob Primes assigned a camera master who was an expert with that particular camera to manage it as it rotated though all of the series of tests. Each test also had a station chief who kept the tests consistent across cameras.

271 Responses to “The Great Camera Shootout 2011: SCCE ~ Episode One”

  1. Anonymous on June 16th, 2011 2:15 pm

    yes!!!!! its up

  2. Steve Weiss on June 16th, 2011 2:17 pm

    I’ve noticed a slight lip sync issue but that will fixed tonight.  I didn’t want to hold up the show or you would kill me.

  3. Steve Weiss on June 16th, 2011 2:23 pm

    I’m also noticing that the show is playing a little skippy, that’s because hundreds of you are probably watching at once and this is a large file size for maximum resolution, you might want to check it out later or let the whole show load before playing.

  4. Steve Weiss on June 16th, 2011 2:30 pm

    Sorry, it wasn’t available, but it’s about the same as the F3

  5. Thaddeus Setla on June 16th, 2011 3:22 pm

    That is great news, great team you have there…

  6. Dave Creu on June 16th, 2011 3:35 pm

    Just finished watching episode I, and I must say….REVEALING! It’s also very interesting the comments made by several participants at the screenings. Some of them seemed almost jealous that some of the cameras did so well! That’s entertaiment!!! Thanks Zacuto for another awesome shootout documentary. I look forward to the next episode…..Oh yeah, Hi Susan Rupp! Thanks for keeping us informed. Your a cutie!

  7. Dave Creu on June 16th, 2011 3:40 pm

    God, I can’t believe I mis=spelled your name… Sorry :)  Susan Rapp

  8. randynoland on June 16th, 2011 3:44 pm

    Fantastic. What pro job on this!

  9. Duke on June 16th, 2011 3:50 pm

    For me it says “The creator of this video has not given you permission to embed it on this domain.”  Does anyone have the direct link?

  10. jim bachalo on June 16th, 2011 3:55 pm

    Whoaa!  I’m shocked at how well the 7D performed….even outperforming the 1D and matching the 5D in most tests. How can this be?

  11. jim bachalo on June 16th, 2011 3:57 pm

    I assume identical picture styles were used for all Canon DSLR’s?

  12. Scott Lynch on June 16th, 2011 4:13 pm

    Hi Jim,
    Yes the same picture styles were used on all of the Canon DSLR’s, we found that the 7D distributes it’s latitude so that there is more latitude in the highlights. This is why is preforms slightly better in the overexposure scene.

    -Scott

  13. Blake Larson on June 16th, 2011 5:46 pm

    The Alexa was incredible in the tests. I was also suprised to see it had a much more sharp image than the Red.

  14. Zacuto on June 16th, 2011 5:49 pm

    Its possible you would get that error if you are behind a web proxy that was caching the page or using some kind of TOR privacy network that would make the Vimeo embed think it wasnt being called from Zacuto.com  The show will be on our site exclusively until the next episode when we will release it to be embedded anywhere.

  15. Adam Loretz on June 16th, 2011 5:56 pm

    The Great Camera Shootout 2011 was worth waiting for! Like my 5 year old with a new Disney movie, I had to watch it twice back to back ; )

  16. Dave Creu on June 16th, 2011 5:57 pm

    Absolutely right. The Alexa is king. No hype, just performance.

  17. Mitch E. Apley on June 16th, 2011 6:03 pm

    Wow…

  18. Duke on June 16th, 2011 6:47 pm

    I’m on another computer at home now, which I know isn’t on a proxy, and it says the same thing. :-(

  19. Susan Rapp on June 16th, 2011 6:48 pm

    Adam ~ It’s like Disneyland for Shooters! Cheers, ~sue

  20. Pedro Sttau on June 16th, 2011 6:48 pm

    I was expecting a good show, but this was just ridiculously good! Completely blown away!

  21. Anonymous on June 16th, 2011 6:50 pm

    Absolutely incredible guys…really.  ALEXA is still my favorite, although this didn’t include EPIC’s HDRx capabilities, but even so ALEXA is amazing and it’s enough for R. Deakins. :P I own the 5D and AF100 and I was very pleased with how the AF100 held up as one of the only middle range video cameras in the test.  It was either F3 and up (twice the price of the AF100 or more) or it was DSLR’s.  This is an incredible feat guys…if you don’t win an Emmy for this it’s a crime!

  22. Susan Rapp on June 16th, 2011 6:51 pm

    Dave ~ At lease you know my “real” name! Most people only know me as “Zacuto Sue.” Glad you enjoyed the revealing episode! Thanks for all the support and the “sue kudos.” Cheers + HappyShooting, ~rapp

  23. Justin Marx on June 16th, 2011 6:54 pm

    Awesome! I love everything except the WAITING for a new episode

  24. Deane Patterson on June 16th, 2011 7:18 pm

    As a 7D owner. I really got a handle on how the camera seems to protect highlights for days – in stills and in motion – and now understand the corresponding shadow detail not being as spectacular – but the real takeaway was that now we know how each camera behaves over the range of exposure, you set your midpoint accordingly. 

    Nice to see a few mentors and collegues from around the world 

  25. Paul on June 16th, 2011 7:28 pm

    which compresion settings are used for these video???

    it look great !!!!

  26. Anonymous on June 16th, 2011 7:52 pm

    Nice but, where is the share button. I’d like to post this to facebook.

  27. Darren on June 16th, 2011 8:12 pm

    I for one want to thank you guys for the entire production for this.  I can clearly see all the effort not just what was shot, but how great the footage is.  The fact that you guys made something like this for all of us to view for free is just incredible.

    Give those people another Emmy

  28. Zacuto on June 16th, 2011 9:08 pm

    There is a share and like button on the toolbar at the bottom of the page.  Do you have Javascript turned off?  I believe that would block it.

  29. Susan Rapp on June 16th, 2011 9:20 pm

    Darren ~ thank you so much. having this kind of support from the film community means a lot to us. Our amazing editor Karen Abad and producers Scott Lynch & Daniel Skubal put their heart & soul into this. And yes…Go Emmy! Cheers, ~Sue

  30. matt B on June 16th, 2011 9:31 pm

    amazing, well edited and so professional. I love this!

    One thing I hate to admit was that the Nikon D7000 was more sharp than all of the Canon’s on the low light scene. Look at the lampshade.

    I really hope the 5dmkIII does pixel binning or something better than line skipping!

    And, wow, the 7d comes on top of the 5dmkII for holding highlight and was better in low light too. The 1dmkIV was not much of a game changer – it is pretty bla.

    For me, I have to say that film is king in highlights and Alexa queen of digital!

    Red HDRx seems extremely promising though.

  31. Luciano Rocha on June 16th, 2011 10:31 pm

    Very nice tests. Thanks for the effort, guys!

    Ps. No FS-100? BOOOO!!!

  32. Scott Lynch on June 16th, 2011 11:29 pm

    Paul,
    We use a custom h.264 compression that averages around 15Mb/sec but that’s variable up to 30Mb/s. The video we uploaded was about 3GB and then vimeo server crunches it down from there. We spent a lot of time creating the compression mix for this episode. But I was very happy that we were able to preserve how all the cameras feel as far as noise and compression. 

    -Scott

  33. Scott Lynch on June 16th, 2011 11:39 pm

    Luciano,
    We would have tested the FS-100 if it had been available at the time. The first round of testing happened the first weekend in February, so even at that time getting a working F3 was almost impossible. We also had to decide what cameras to test several months before we actually shot, and during our pre-production phases I don’t think that the fs-100 had even been announced.

    -Scott

  34. Hans Steinert on June 16th, 2011 11:46 pm

    Scott,

    You should look into x264. Much better in performance than h264, and you can use settings that make it just as compatable with players as h264. No gamma bug, less artifacting relative to bitrate, and ultimately closer to the source’s picture.

  35. Hans Steinert on June 16th, 2011 11:50 pm

    Extremely interesting. Thanks for doing this, everyone! So much goodness in one video!

  36. Doleep Mahmoud on June 17th, 2011 12:09 am

    When your credits roll for 5 min you know that this was a nightmare to make, The Great Camera Shootout 2011 simply is EPIC!!

  37. Anonymous on June 17th, 2011 12:56 am

    what exact Zeiss ZF lenses were used on the Nikon D7000 for each of the tests?

  38. Anonymous on June 17th, 2011 1:08 am

    its a shame that this test wasnt done slightly later so that the F3 could have its S-log update, would have made a huge difference. oh well, its interesting to see how the alexa holds up against the MX and Film

  39. filmowiec on June 17th, 2011 1:20 am

    great JOB u guys, really fantastic, so informative

  40. José Eduardo S. Peixoto on June 17th, 2011 2:16 am

    7D, this great little camera is phenomenal!!!

  41. Giuseppe Pugliese on June 17th, 2011 2:48 am

    Lots of missing information here… REC709, CineGammas, codecs, bit rates, where is all this info? This directly effects what we are seeing and visually comparing.  Please publish this info so the public can be educated. The lack of this information just provides half the story. You cannot do a DR test without telling us what the Space used is, are they tweaked to match cinegammas througout?  how was everything recorded? and at what bit depth? what codec? Without this info sadly its nothing more than a mystery as to what we are really seeing here. Please post.

  42. Kalani Prince on June 17th, 2011 3:03 am

    who was resposible for post scaling? There’s no way Red One Mx would be that soft next to Alexa’s 1920X1080. Sumn’s not right here…

  43. Sebastian TR on June 17th, 2011 3:11 am

    Fantastic work Steve and all who worked on this,
    really well put together – I noticed the slight lip sync but it hardly bothered me… Looks like it would have been an absolute beast to produce / organise / edit etc… great treatment and brilliant hearing  from DP’s / Cinematographers from around the world – some very interesting thoughts!

    I do miss some of the humour + light entertainment brought by the western shootout 2010, however entirely understandable for such a comprehensive and techincally inclined production.

    Keep up the amazing content – you are really pushing the boundries by bringing such well produced, informative and entertaining content to the masses… really a huge credit to zacuto + kessler,
    again well done to  all involved.

    Cheers

    seb

    ps there’s always 2012 for the Epic / F3 with S-log / 5dmk3 etc.. :)

  44. Anonymous on June 17th, 2011 3:19 am

    Hey, Guys, correct me if I’m wrong but I think after the overexposure test when one of the guys talks about the comparison among the three canon cameras I think you picked up the Nikon D7000, not the 7D. During the test we see a little bit more details in the window on 7D compared to D7000!

  45. Pau Catala Rodas on June 17th, 2011 5:07 am

    Great Job guys, the real test everyone was expecting. I can’t wait to see the next episode! Thanks to everyone that contributed to make this project posible and more important thanks for sharing this knowledge with eveyone not just keeping it to a few!!!!!

    Great Job!

  46. Scott Lynch on June 17th, 2011 5:59 am

    Hi Giuseppe,
    The detailed information will be coming out as whitepapers in the future. The SCCE is still an ongoing project and the full technical write-up is something I believe they are working on.  We’ll be going into more detail about the recording methods used in the next episode, but generally all the cameras were recorded to external Codex or s.Two recorders to get the best quality out of the camera possible. The RedMX, Phantom and Weisscam were all recorded to their internal memory and the RAW files were extracted. Things like the DSLRs could only be recorded to internal CF cards. Basically they recorded the most uncompressed image they could get out of the camera. It was felt that this would test the best the camera could perform and not a test of codecs.

    To calculate the dynamic range, a camera had to have full information in the red/green/blue channels. If a camera had a clipped channel then that would be the limit of it’s calculated dynamic range. 
    -Scott

  47. David on June 17th, 2011 6:03 am

    great stuff! Thanks so much to everyone who put so much work into this! I’m a photographer, and I bought a Nikon D7000 recently just for its HD video capabilities, and I’m very glad to see it included in this comparison. Looking forward to the next episode!

  48. Scott Lynch on June 17th, 2011 6:04 am

    Unfortunately, as soon as a test is recorded it is already out of date. We do encourage people to go out and continue to test the cameras that they are considering for a project. We would have loved to test F3 with S-log, the Epic, the FS-100, but at a certain point we had to cut it off and just do the best we could with what we had.
    -Scott

  49. Andrew Howe on June 17th, 2011 7:13 am

    Congratulations on an excellent start to the series.  The video matches well with my memories of the NAB screening.  I think the new documentary elements are really well integrated and bring the tests alive.  I am watching it with my son Alex because I think it is really educational – much more interesting and revealing way of learning camera characteristics and testing techniques than reading a text book.

  50. Anonymous on June 17th, 2011 7:35 am

    Thank you so much!

  51. Laurens de Vries on June 17th, 2011 8:58 am

    I loved being able to watch this on my iphone during my commute home. Great stuff. I did watched it again at home on a bigger screen.

    In the highlights tests, I did notice a difference in lighting between the shots. In some shots the couch has a diagonal line, and in some there is not, which makes me wonder if the reference and the window were really identical in all shots.

  52. Biff Winkleson on June 17th, 2011 9:05 am

    And with 5k resolution, 18 stops of latitude, native iso of 800, fps from 1-300 and all at 5 lbs the Red Epic blows away them all.

  53. Guest on June 17th, 2011 9:38 am

    Specs mean nothing. I hate HDR video AND stills, another gimmick like 3d. So all your left with is 5lbs. and too much resolution. Why wouldn’t Ted allow them to test it? Only he knows the answer to that. He was asked and arrogantly blew it off. I don’t know about anyone else, but I’d never even rent a Red camera if it was the last/best/greatest camera on the shelf. I’d rather DRAW my frames by hand, than to support an elitest company like Red. Arrogance, conceit, insults to the “lesser masses” that need to “man up” (“pony up some cash, cause we can’t democratize like Sony” is more like it), and just plain hype and lies are what I and many others see in Red. NEVER get my vote or business. Have a great day! :)

  54. Guest on June 17th, 2011 9:42 am

    And another thing…even the APPEARANCE of humility towards everyone would take them leaps and bounds ahead of where they are now. Are you listening Jim and Ted???

  55. Stuart Harlan Cone on June 17th, 2011 9:44 am

    Really liking the F3 here.  I’ve been thinking long and hard about whether to save up a little longer for it, so thanks for this kind of test.  It’s fantastic to not just see a bunch of “test videos” but to see so many cams side by side and get an idea for their limitations and how one might need to compensate for them.

  56. Anonymous on June 17th, 2011 9:50 am

    A fantastic test and unbelievable assembly of gear and talent.  My only concern is the post treatment.  The PGA tests of a few years back forced all of the cameras into a particular workflow to prove a budget point (DPX based).  How were these cameras treated, particularly those with a RAW arrangement?  Did Alexa, F35, F3, AF100 all record to an uncompressed 444 deck?  Thanks, looking forward to the next few episodes!

  57. Joe on June 17th, 2011 10:25 am

    I hate Twitter. The shoot out is the bomb.

  58. Steve Cocklin on June 17th, 2011 10:31 am

    Thank you for the test but I’m afraid it opens up more questions, I know there is a white paper coming out soon but I’m wondering if you could give me the answers to some of my questions now.   The F35, Arri Alexia and Red MX;  were they recording in 444 with Log-c, mx-log  and s-log and graded accordingly in post. How was the Kodak emulsion dealt with in post?  Was the F3 recording natively , or to an external digital recorder, 8 bit 10 bit, 4:2:2? Did you have access to the new upgrade for the F3 allowing the camera to record 444 with s-log? I realize the DSLR’s are limited to their internal codec but they did surprising well up against some incredible cameras.  Thanks again for the test and please continue on with these test in the future. Looking forward to reading the white paper on these test.

  59. Jesse on June 17th, 2011 10:41 am

    The 7d really surprised me here, as well as how poorly the f3 and af100 did in the highlights. The alexa did what I expected and looked the best now if only I could afford one :)

  60. Felipe Henao on June 17th, 2011 11:16 am

    Thank you Zacuto and the others

  61. Anonymous on June 17th, 2011 11:23 am

    YEAH! Screw technical aspects!

  62. Michael Palmer on June 17th, 2011 11:24 am

    I wonder if the files were from the native recording of each camera? This test did prove that to get more dynamic range you need a digital negative (Raw or Log). I wonder if next year the F3 will be allowed to record to the Gemini 444 to compare against the Red and Alexa? Great job by all who donated their skills. Thanks very much.

  63. Cid Machado on June 17th, 2011 11:27 am

    Thanks a lot for all of you involved in this production! Amazing information you´re sharing with the world! I can´t wait for the next episode! Cheers!

  64. Frank Glencairn on June 17th, 2011 11:30 am

    Ahrghhh – can´t see it. All I see is the Vimeo sceen that says “Sorry – The creator of this video has not given you permission to embed it on this domain. This is a Vimeo Plus feature.”

    ….and no, I´m not behind a proxy.

    Tried 3 different browsers, no luck.
    Can watch it on my phone though, but stops after 3 minutes – driving me nuts.

    Frank

  65. Steve Weiss on June 17th, 2011 11:53 am

    we are re-uploading it right now.

  66. Steve Weiss on June 17th, 2011 11:54 am

    Every camera was recorded in RAW if possible also on codex and OB1, the white paper will describe all of this.

  67. Steve Weiss on June 17th, 2011 11:59 am

    Sorry Markus but the G2 is not part of the professional like and we only tested cameras in the professional lines.  Have to draw the line somewhere for cost and time constraints.  

  68. Steve Weiss on June 17th, 2011 12:01 pm

    You are so welcome Pau.  Production is my passion and we enjoyed making this documentary.  I really want to thank my production team which is some of the best guys and gals I’ve worked with in my 29 years in production!!!  Viva Zacuto

  69. Steve Weiss on June 17th, 2011 12:02 pm

    You know, I kind of thought that too on my last of 25 viewings in post.  I’m going to look into that.

  70. damien huvelle on June 17th, 2011 12:03 pm

    Hi ! very intresting ! not only for the HDSLR, …

    concerning HDSLR, I would like to know if any pictures styles were used for shooting thoses images (I specialy think to technicolor “cinestyle” or any other curves)

    thanks for reply

  71. Steve Weiss on June 17th, 2011 12:03 pm

    Yeah, we fixed the lip sync issue and re uploaded.  I noticed that right away but couldn’t delay a minute longer on the release or I would have been burnt in effigy from the indie film community.

  72. Steve Weiss on June 17th, 2011 12:04 pm

    I was shocked at how well it performed in the highlights.

  73. Steve Weiss on June 17th, 2011 12:08 pm

    Actually, it was more of a nightmare for Bob Primes and his team as well as my editing team.  ;-) it wasn’t too bad for me, four shoot days and a lot of editorial reviews.  I’ve had way more grueling projects.  But I’ve never had 772 people involved in a project in one way or another before, I too was stunned when I saw those credits which took one of our editors days to make.

  74. Steve Weiss on June 17th, 2011 12:10 pm

    I agree with your conclusions.  I really wish Ted and Jim gave us the Epic.  I’ve been playing with one the last few days and the HDRx is F$$king amazing.  It’s like you are lighting in the camera.  It really would have been nice to see how it performed against the Alexa.  I think it would have been a toss up.

  75. Steve Weiss on June 17th, 2011 12:11 pm

    Hey man, make them watch the whole show to understand the how’s and why’s ;-)

  76. Zacuto on June 17th, 2011 12:11 pm

    Frank I have contacted Blake at Vimeo to see if we can find out the answer.  ITs hard to troubleshoot when we have well over 10K plays and only 3 people have said they have an issue.   I know it is frustrating but we are trying to move forward.  It would help if others have this issue to email me directly with your OS, browser and version along with location to it@zacuto.com.

    Thanks,
    Dave

  77. Steve Weiss on June 17th, 2011 12:12 pm

    From your mouth to God’s ears.  The Emmy submissions deadline is today ;-)

  78. Steve Weiss on June 17th, 2011 12:16 pm

    With four editors on staff (many days working to midnight) working on both this show and BTS it’s really hard to put out a shot every two weeks but that is our goal.  Alternating every two weeks with a BTS and a Shootout episode.  Should make for some great entertainment over the next few months.  

  79. Steve Weiss on June 17th, 2011 12:17 pm

    Thanks Pedro.  We really put our heart into the shooting and especially the post process/graphics.

  80. Steve Weiss on June 17th, 2011 12:17 pm

    Thanks buddy.

  81. Doug on June 17th, 2011 12:33 pm

    Freakin. awesome.

  82. Vladbox on June 17th, 2011 1:08 pm

    Glad to see such test. Love the Alexa how it roll trhough the midtones with such analog “demeanor”. But I am even more gladly surprised to see the 7D holding its own. I personally learnt something new in this test out of my “old” camera. Great.

  83. Anonymous on June 17th, 2011 1:45 pm

    Really? After much trial and error we have decided on using GH2′s for all our productions, over the 7D and other DSLRs. The long recording time, higher quality codec, good HDMI output for a monitor, IQ/resolution, and telephoto feature decided it. I was very disappointed not to see it in the test! So often people say that the res/IQ/highlight roll off is better then the AF100 in many ways and seeing some hard tests would have been really nice. I think it deserves as much attention as the 7D, hopefully you guys will include it more in the future :)

    My two cents. Thanks for a great show.

  84. J MILLS on June 17th, 2011 2:04 pm

    The f3 was disappointing really like the look of this camera, not so sure now

  85. Bumki Cho on June 17th, 2011 2:27 pm

    To be fair, I think it was a pre prod F3 being tested at that time.

  86. Steve Weiss on June 17th, 2011 2:41 pm

    nope, we had a pre-prodcution model for phase one, but reshot everything on the F3 in phase 2.  It’s all production model

  87. Bumki Cho on June 17th, 2011 2:46 pm

    Oh my mistake!

     

    BTW, thank you, Steve, Zacuto, and SCCE for this wonderful shootout! It is great to have learned different dynamic ranges of these cameras and their various mid points. It will definitely help when setting up my cameras in different light situations.

  88. Trent on June 17th, 2011 3:11 pm

    Weird. I played this last night and Vimeo had it in 1080p and now it’s only in 720p…Whats up with that???

  89. Daniel Skubal on June 17th, 2011 3:31 pm

    We swapped out the file earlier this morning to fix a sync issue and update a couple of names in our credits.  The 1080 size was unchecked, it should be back up!  Sorry about the hiccup!  Enjoy.

  90. Anonymous on June 17th, 2011 6:41 pm

    I, and a few others, are still unable to watch it.  We get an error message of “The creator of this video has not given you permission to embed it on this domain. This is a Vimeo Plus feature.”  Are there any other options?

  91. Zacuto on June 17th, 2011 7:24 pm

    Are you using Firefox by any chance?  That is a common theme of people that have been having problems, they then tried it in a different browser and it worked.  At this time this is the only page that has the Shootout available.  Im waiting on a reply from Vimeo for more information.

  92. Henrik on June 17th, 2011 8:30 pm

    Would be nice to know somthing about the Picture Style of the DSLRs. The Technicolor CineStyle with log output really gives a lot more to play with than other “flat” styles.

    It would be a “nice to know” thing right? Or have I missunderstood something?

  93. Anonymous on June 18th, 2011 4:15 am

    To Laurens’ point earlier:  Why is there light and shadow on the couch in most shots, and none with the Alexa?  Is this the camera’s doing or was there a lighting change?  

  94. Anonymous on June 18th, 2011 4:32 am

    Actually to be accurate, it looks like there is no light/shadow on the couch for four of the cameras  both Sonys, the Panasonic, and the Alexas, and none for the rest.  It looks to me like a Leico was off for those four, and on for the rest.  Would this in any way affect the cameras’ handling of the highlights in the window?  

  95. Anonymous on June 18th, 2011 4:48 am

    Actually to be accurate, it looks like there is no light/shadow on the couch for four of the cameras  both Sonys, the Panasonic, and the Alexas, and some for the rest.  It looks to me like a Leico was off for those four, and on for the rest.  Would this in any way affect the cameras’ handling of the highlights in the window

  96. Mark on June 18th, 2011 5:14 am

    Very very very well done guys!

  97. Anonymous on June 18th, 2011 7:33 am

    Internet explorer did it.  Thanks.

  98. Anonymous on June 18th, 2011 9:27 am

    How do we watch it full screen.

  99. Maarten Toner on June 18th, 2011 11:17 am

    Another eye opener, 7D nice surprise.

    And whats with all the dutch people? They never make any sense when I’m around… :-D

  100. Trent on June 18th, 2011 11:47 am

    I know right! I hate when a company knows they are the best and keeps pushing the industry to bigger and better things! How dare you RED! Stop changing the industry for the better! Stop being the reason that most of these cameras exist!!!

  101. Brian MacDougall on June 18th, 2011 12:13 pm

    Wow. You guys are straight-up awesome. Thanks to everyone who participated.

  102. Anonymous on June 18th, 2011 4:12 pm

    Terrific…  I wish someone would do this with the post software suites…

  103. Nick Catalano on June 18th, 2011 5:17 pm

    Can we get a copy of the stills you used to measure the DR?

  104. Michi Hachi Hachi on June 18th, 2011 6:04 pm

    Wowza!  Aren’t those crazy graphics and loud rocking music tracks totally nifty?!  (and completely unnecessary)
    Take your finger off the “rad” button in post-production fellas.  It’s the wonkish tech info we want, not an UFC match.

  105. Jordan on June 19th, 2011 3:15 am

    Lots of people complaining about the cheezy graphics and 80s rock music but I kinda like it. 

    Sure its not very professional but I think Zacuto were going for a Michael Jay Fox “back to the future” vibe (right?)  Or perhaps someone at Zucato likes schwarzenegger in “The running man” and coun’t think of anything creative.  I am sure they were on a strict deadline and this is the best they could do.  Lets cut them some slackand try to ignore it and focus on the actual results.

    The amount of work that went into this, even this first part of the series, is staggering.  Sharing the results for free is s treat for all of us and will only boost the “big sensor” shooting industry even more.

    Thanks again for all your hard work!  Looking forward to episode 2!

  106. Anonymous on June 19th, 2011 4:04 am

    Thank you for this work. It’s very interesting. I’ve seen it twice already. But it’s too short (I know it’s just a first part). 

  107. Anonymous on June 19th, 2011 5:31 am

    great work.

  108. Laurens de Vries on June 19th, 2011 6:25 am

    Was thinking about that too. Especially now it seems that there are differences between the 5D and the 7D that the CineStyle does not take into consideration.

  109. Steve Weiss on June 19th, 2011 10:19 am

    Wow, I like our graphics and music and worked hard to get it to look exactly like that.  Sorry, you didn’t find it entertaining.

  110. Steve Weiss on June 19th, 2011 10:21 am

    I don’t do the tech part, if that’s all you are interested in, search the web.  We make programs at Zacuto.

  111. Steve Weiss on June 19th, 2011 10:23 am

    Click on the box in the video in the lower right corner, that plays it full screen.

  112. Steve Weiss on June 19th, 2011 10:26 am

    The cameras were shot as flat as possible.  the Technicolor CineStyle was not released at the time.  Again, this is just a test.  If you master your camera and lighting you can make anyone of these cameras look amazing and probably very close.

  113. Anonymous on June 19th, 2011 10:31 am

    While we be able to download the raw file? Or the uploaded one to Vimeo at the very least at some point so we can really see how these cameras hold up????

  114. Anonymous on June 19th, 2011 10:32 am

    The graphics and the entire presentation is phenomenal. I can’t believe someone wouldn’t care for it. 

  115. Susan Rapp on June 19th, 2011 10:47 am

    We will release Episode 1 to Vimeo and other sites when we launch Episode 2 next month on our website. Thanks for watching + Cheers, ~sue

  116. Susan Rapp on June 19th, 2011 10:55 am

    G ~ We will have additional tests and a lot more commentary from the worldwide screenings in Episode 2 & 3 and we may release additional bts clips. Hope that helps + thanks for your support. Cheers, ~sue

  117. Andy Brown on June 19th, 2011 11:32 am

    I’d be interested to know how the individual cameras were set up. I have a D7000 and I’m wondering if the footage in the video is out of the camera or if PP’d.  What camera control was used; is it sharpened in camera or with USM.  I’m sure others would be interested in their cameras too.

  118. eco_bach on June 19th, 2011 7:40 pm

    Ok great series. However , I disagree with both the methodology and lighting for the overexposure test which is a bit misleading. An additional test which, instead of a constant ISO-fstop, uses an exposure based on important highlite detail for each camera, as would be done in a real world scenario, would give a better comparison of highlite handling ability(especially between the Canons). And by including more shadow areas, you would also get a better comparison of overall latitude.

  119. Chris Gibbs on June 19th, 2011 8:25 pm

    Very nice job, always appreciated and thank you!

    Question; would it be worth putting this out on BluRay disk for individual viewing on 1080p TV’s?

  120. Mike Tesh on June 19th, 2011 9:03 pm

    Really wish you guys woud have included the hacked GH13 and the GH2 in these tests. The last test only focused on the stock GH1 which everyone agrees is far inferior to the hacked version. Though I am glad to see you included the D7000, I think it was short sighted to no include the GH13 and GH2 for those of us on the lower end.

  121. Ron Adair on June 19th, 2011 9:04 pm

    Hey, Guys—

    I’m dying to see the video, but it doesn’t seem to be working in any of my browsers.  I don’t have the flash plugin installed due it being a total leech on resources, and for some reason this video crashes my instance of Safari (5.0.5) when trying to play as HTML5 video.  

    I can’t see it on Vimeo, as it’s private.  

    It won’t play on my iPad, and even my Google Chrome install (with Flash built in) won’t play it properly—it skips like crazy.  

    I have a brand new MBP quad core i7 laptop that handles video like a dream.

    I am on a 56k modem connection, but that shouldn’t matter.  Ok, not really—I’m on a 10mpbs pipe.

    Any suggestions/solutions?  What’s the reason again that this isn’t available directly on Vimeo?  Dying to see this one way or another.

  122. Steve Weiss on June 19th, 2011 10:31 pm

    The original plan was to only include one camera from each manufacturer but later that was revised to only include cameras from the pro divisions of camera companies.  

  123. Steve Weiss on June 19th, 2011 10:31 pm

    It’s been talked about.

  124. Anonymous on June 19th, 2011 10:37 pm

    I can’t seem to find any technical info about the shootout.  Did they use custom profiles for the canon cameras?  If so, which one?

  125. Raitank on June 20th, 2011 4:03 am

    Correct me if I’m wrong, but 7D’s great performance in the highlights suggests that its “Highlight tone priority” option was on? …I should wait for the white paper.
    But hey, thanks for sharing such a great production!

  126. 戴九功 on June 20th, 2011 4:14 am

    看來 5DM2真的是超值選擇…

  127. Petr Eremin on June 20th, 2011 6:27 am

    That was a great test!  
    I was very surprised seeing the Canon cameras perform so different in the highlights and I was asking myself why that was the case. I think what really makes the difference dealing with highlights between the 1D, 5D and the 7D is the difference in the sensor size. Since the 7D has a smaller sensor it has a smaller depth of field than the 1D and the 5D with the larger sensors.  
     
    Just compare how the flowers behave in the foreground of the frame. They are much more out of focus on the 5D and the 1D than on the 7D, ergo the background is also much more out of focus on the 1D and the 5D compared to the 7D. Since this is the case, the details of the branches in the window seen on the 7D are blown away on the 5D/1D because they are more out of focus.  
     
    I wonder how the three cameras would behave if the focus point was set on the window. My guess is that they would look very similar on the overexposed highlights.  
     
    I would prefer working with a 7D sized sensor than the one used on the 5D. It is much bigger compared to the Super 35 film format.

    I think the difference in the depth of field of the 1D/5D compared to the other cameras in the test is a point worth keeping at the back of our minds.

    Cheers,
    Petr

  128. Ed Riew on June 20th, 2011 10:01 am

    Steve, I was wondering if the F3 was being using the 10-bit S-Log firmware upgrade (and recorded to a Genesis 444 or similar), or was it being recorded with the internal XDCam 420 Codec to SxS Cards?  The S-Log test in Las Vegas at NAB seemed to open the dynamic range up a staggering amount.

    Overall, loved the Shootout!  Graphics and production value were great, there will always be some haters ;) .  Been looking forward to it, and can’t wait to see the next one.

  129. Bumki Cho on June 20th, 2011 1:34 pm

    Not sure if this was asked before. What camera did you guys use to take BTS?

  130. Scott Lynch on June 20th, 2011 2:30 pm

    We are working with Bob and his team to get all of the technical information about the tests available. There is a lot of documentation to go through and it has to be distilled so it is easy to read and understand. We will do our best to have it available in the near future. But please understand that this whole test was largely a volunteer effort, and many of the people involved have devoted the better part of the past few months just to get the footage ready to view. 

    As soon as it is available, we will post the technical information here and it will be available at http://www.thescce.org.

  131. Scott Lynch on June 20th, 2011 2:41 pm

    The concept about the overexposure scene was to see what would happen if you had highlight detail that you had no control over, and how much you could bring back the highlights in post. If the exposure had been based on the window and had been changed depending on what the camera could handle, that would not really show you differences on how the cameras handle clipped highlights.

    There are scenarios in almost every project where because of budget or time you do not have full control over the scene. Maybe you don’t have enough lights to balance the interior, or the sun breaks cloud cover in the middle of an outdoor scene, and this could cause part of your scene to get way overexposed. 

    This test was to show what each camera would record when faced with this type of scenario. 

  132. Scott Lynch on June 20th, 2011 2:44 pm

    Hi Andy,
    A technical write up will be coming, we are working with Bob and his team to get this to you.
    -Scott

  133. Scott Lynch on June 20th, 2011 2:45 pm

    It shouldn’t effect the window exposure. The window was lit with a different set of lights and, as far as I can tell the lighting in the window is consistant.

    -Scott

  134. Scott Lynch on June 20th, 2011 2:47 pm

    Hi Henrik,
    A technical write up is in the works that will explain the methodology behind the numbers, camera settings, and the post worflow for each camera. We will post that here when it’s available.

    -Scott

  135. Scott Lynch on June 20th, 2011 2:51 pm

    For all of the F3 footage in this episode you are seeing a the 444 (non S-log) footage that was recorded as 444 to a Codex. Later we will show differences between the onboard and offboard recording but Bob wanted to show the best images that were possible from the camera and not be limited by onboard recording (when possible).

    The S-Log firmware upgrade was not available at the time of this test, this footage was shot the first week of March, 2011.

    -Scott

  136. Scott Lynch on June 20th, 2011 2:52 pm

    We didn’t use the Technicolor profile as theses tests were done before that profile was released. We did use a variation of Neutral on the Canon’s. A technical writeup is in the works which we will release to you when it’s available.

    -Scott

  137. Scott Lynch on June 20th, 2011 3:17 pm

    Hi Steve,
    The short answer is that the footage you are seeing was recorded as “RAW” as possible from each camera. In the case of cameras such as F35, Alexa, F3, AF-100 an external recorder (Codex or s.Two) was used. Red, Flex and Weisscam were recorded in their respective versions of RAW. The DSLRs don’t have a clean HDMI signal out so they only were recorded as onboard h.264, although still RAW files were taken with each still camera of each scene in order to analyze the sensor’s preformance. The processing for the film was done at DeLuxe, with the scan being done in 4k and 16bit color.

    The F3 S-log update was not available to us when this was shot in March, 2011. 

    A more exact technical write up will be coming with specifics, we’ll post that here when it’s released.

    -Scott

  138. Scott Lynch on June 20th, 2011 3:23 pm

    There is a full technical write up coming in the future, everything has been documented, but there are literally millions of files and pages upon pages of notes that all have to be distilled into a understandable format. Most of the people who are working on the SCCE are doing it as volunteers, so that also has to be taken into consideration. 

    As soon as the information is available we will release it here and it will also be available at http://www.thescce.org.

    I’ve listed the recording formats for the cameras 5 posts up.

    -Scott

  139. Scott Lynch on June 20th, 2011 3:34 pm

    To the above “guest”, 

    We respectfully ask you to not make your posts insulting to any person or company. RED was asked to participate, but the Epic was still in beta and not ready for a full-on comparision. To be completely fair, a lot of money, resources and time go into developing these cameras that we all use and the industry is a better place because of all of these tools. If you dislike a camera, that’s completely fine, but we don’t tolerate personal insults.

     

    -Scott

  140. Scott Lynch on June 20th, 2011 3:49 pm

    It’s a combination of several different cameras, but the main cameras are a Sony EX3′s and Canon 5DM2′s.

    But there’s also footage from HVX200, HPX170, 7D, F3, GoPro, Z1U, XF300 and others. :)

    -Scott

  141. NEKS on June 20th, 2011 4:58 pm

    Great shootout! Was hoping for gh2 tests as well.

     

    Alexa rocks!

     

    7d came out really good on both tests, and good to know that the dinamyc range difference is only .2 compared to 5d.

     

    Looking forward for those next episodes!

     

     

  142. Blake Larson on June 20th, 2011 5:07 pm

    i didn’t like the Red’s highlights, they were just to overblown for my taste.

  143. Christopher Marino on June 20th, 2011 5:50 pm

    Very well done to all involved. Curious to know how the F3′s image was captured? On board 4:2:0 8bit XDCAM or external 4:2:2 10bit? If so, it would also be interesting to see how the new S-Log RGB update would fair against the Alexa, MX, and 5219. 

  144. Kimberly Nicole on June 20th, 2011 7:35 pm

    Nicely done, Steve!

  145. David Beier on June 21st, 2011 2:37 am

    Wish you guys had done the Canon 7D instead of the 1D Mark IV.  Because of the price point and it’s in-between sensor, I don’t see many people using the 1D for video but there are TONS using the 7D and its little brothers (60D, T3i, T2i).  The 7D makes more sense if you’re doing the Nikon D7000 as they are competing cameras.  

  146. james wood on June 21st, 2011 5:52 am

    Really great run down and worth watch regarding Single sensor format cameras by Zacuto.
    http://Unitedbyphotography.com

  147. Shyam on June 21st, 2011 7:18 am

    I’s attractive highlights 7 d, I think of capacity.

  148. Shyam on June 21st, 2011 7:18 am

    I’s attractive highlights 7 d, I think of capacity.

  149. Scott Lynch on June 21st, 2011 9:19 am

    David,
    The 7D is included in the comparison.

    -Scott

  150. Scott Lynch on June 21st, 2011 9:20 am

    Hi Christopher,
    During the SCCE the F3 was recorded both onboard and offboard. In these three tests you are seeing an offboard recording to a Codex. Later on in the series we’ll do a comparision between offboard and onboard quality.

    -Scott

  151. Scott Lynch on June 21st, 2011 9:36 am

    We will allow the episode to be downloaded when we release episode 2 next month.

    -Scott

  152. Scott Lynch on June 21st, 2011 9:41 am

    We hope that selections of the raw files will be available in the future. As to when this will be available through, I am unable to say.

    -Scott 

  153. mark Morris on June 21st, 2011 1:38 pm

    Great visual comparisons…helps in quantifying all these cameras performances.  And one thing that stands out is the need to stop down for highlights with the smaller cameras, and not worry much about underexposure. Important safety tips!  Great work by all involved.  

  154. Laurens de Vries on June 21st, 2011 2:00 pm

    Hmmm. All very interesting!! Very good work. Now a month for the next episode!? That’s almost as bad as the summer break of the House MD :)

  155. Paul Rogers on June 21st, 2011 2:09 pm

    Great stuff guys really love it! http://www.photographersreel.com

  156. Anonymous on June 21st, 2011 2:30 pm

    yeah, the 100,000 lens

  157. Craig Feldman on June 21st, 2011 2:48 pm

    Thank you so much for posting this test for everyone to be able to use, and for free! Very valuable. 

  158. eli on June 21st, 2011 3:04 pm

    Thanks Zacuto for putting this together!  Great info!

  159. Bert Guthrie on June 21st, 2011 3:13 pm

    Thanks to everyone who had a hand in this test.  It was very well designed and executed.  I am looking forward to the next installments.

  160. Anonymous on June 21st, 2011 3:46 pm

    thank you :)  really good job

  161. Surfer Mike on June 21st, 2011 5:03 pm

    Thank you Zacuto for putting money down & making this happen. Thank you to the people who donated time, energy & thought. Thank you to all those made this project happen. As a guy who matches the camera system to the job I found this episode invaluable. These were well thought out & professional reasoned camera tests documenting & highlighting the narrowing divide between film & video (data).  Bravo! look forward to the next 2.

  162. Ed on June 21st, 2011 8:41 pm

    Great show thank you. I enjoy it and learn a lot about this new cameras!

  163. Steve Weiss on June 21st, 2011 10:26 pm

    Thanks Kimberly, good seeing you the other night at the Midwest Film Fest.

  164. Anonymous on June 22nd, 2011 12:19 am

    This was fantastic!! Thankyou everyone involved for putting such a valuable resource together :)
    Luke V – Billy Hyde Recording Studios.

  165. Anonymous on June 22nd, 2011 1:00 am

    Thank you!!! this was really educational..great resource material

  166. Charles Amponsah on June 22nd, 2011 5:42 am

    A great test indeed.  If anything, this exercise will make me think twice in future when camera manufacturers – or anyone else for that matter – uses exposure latitude as a sole or leading determinant of the quality of their products.

    It showed me that a camera as relatively inexpensive as the Nikon D7000 could hold its own, within reason, among industry beasts like the Arri Alexa.

    Thank you to everyone involved for bringing this to a wider audience.

    Looking forward to Episode 2. 

    Charles Amponsah

  167. Laszlo on June 22nd, 2011 8:28 am

    A stunning amount of work went into making these comparisons as thorough and comprehensive as could ever be conceived. I’ve never seen comparisons of anything in the world of photography that was done this well.

    It does appear that the very expensive professional camera systems do provide an edge in quality but it’s rather amazing how slight that edge is. Certainly it’s not a night and day difference between the Alexa and the Canon 5DMkII. Certainly if the systems were not “pushed hard” as they are in these tests, then the results would appear to be virtually indistinguishable. 

    It does reveal why the inexpensive gear has gained a following amongst professional cinematographers.

  168. I.D on June 23rd, 2011 1:52 am

    7D highlights performance is great, than that of 5D and 1D.

  169. Sylvain Renaud on June 23rd, 2011 5:24 am

    Another Emmy winning performance guys great job !!

  170. lennart on June 23rd, 2011 7:30 am

    I can’t watch the video. I get the message “The creator of this video has not given you permission to embed it on this domain. This is a vimeo plus feature.”

  171. Susan Rapp on June 23rd, 2011 10:36 am

    lennart ~ I spoke to our IT Director Dave, he said you may need to switch browsers. For me (a Mac girl) it took Firefox about 20min to load -before the video even started. Try Chrome or Safari? Let us know if you still have issues. Hope this helps. Thanks, ~Sue

  172. Harvey Fedor on June 23rd, 2011 11:24 am

    This was a great technical piece, displaying images of various cameras with the same test parameters. My hat is off to all the people involved. very informative. thanks

  173. Anonymous on June 23rd, 2011 11:30 am

    Absolutely amazing and insightful piece.

  174. Anonymous on June 23rd, 2011 12:14 pm

    Excellent and comprehensive test of single chip and film cameras.www.danielhaggett.com

  175. Vlad Ciubotariu on June 23rd, 2011 2:52 pm

    Uau ! You included photo cameras too :) i just love this test and especially what it reveals. It is verry important in professional movie making but also for the those who run for budget solution.

    Congrats for you all. Passion for image drives you every day to do this. AMASING !

  176. Andy Brown on June 23rd, 2011 5:14 pm

    Awesome. Thanks.

  177. Susan Rapp on June 23rd, 2011 5:36 pm

    Thanks Vlad ~ It’s great to get so much support from the Photography + Film Industry. Cheers, ~sue

  178. Anonymous on June 23rd, 2011 6:42 pm

    Is this downloadable?  It’s fantastic!

  179. Zacuto on June 23rd, 2011 7:43 pm

    We are glad you enjoyed it, this episode will be downloadable when we release episode two.

  180. Ryan Ward on June 23rd, 2011 10:01 pm

    Fantastic test. Of the Nikon and Canons, the D7000 seemed to be superior to all Canons on the shadows and bested slightly by the 7D in highlights. Interestingly, this is the only test where the D7000 dynamic range would be this low. All other tests I’ve seen have it in the 13 stop range FAR better than what was shown in these tests and definitely superior sensors in the Canons. I didn’t see anyone else comment about this – did anyone mention it during the testing?

  181. John "Raven" Loser Jr. on June 24th, 2011 6:34 am

    I just wish I could see all three sections in a row. Now the anticipation is gonna kill me. Should have waited until August.

    Great job guys. Keep it up.

  182. Stefan Steib on June 24th, 2011 11:14 am

    Were the Canon´s standard bodies or did you use tuneups ? I mean I have a 5D MK2 where the Antialiasing Filter was removed together with the UV and IR Cut (I have to use a bluegreen Filter in front of the lens now). I think this improves sharpness and details in Highlights and shadows a lot. My tuneup was made by a german Company  http://www.optik-makario.de/   they also supply the filter and I am VERY happy with this.
    Regards  Stefan Steib – hcam.de

  183. Scott Lynch on June 24th, 2011 11:22 am

    Stefan,
    The canon camera’s were “basically” standard with the hardware, WITH the exception that there were PL mounts instead of EOS mounts on the cameras. This was done so that we could use the exact same lens on every camera tested for any given test (except for the D7000 which we were unable to get in a PL mount). We wanted to remove lens characteristics from being compared.

    It was felt that doing too much beyond how the cameras ship from the manufacturer would make the results not representative of what “most” people who use these cameras would find.

    -Scott

  184. Pat on June 24th, 2011 8:35 pm

    At what ISO were the cameras used?

    I think some of the dslr cameras lose some dynamic range at interval iso’s.

  185. Gurudas Kamat on June 25th, 2011 7:02 am

    It’s simply superb!, we really appreciate the Herculean work done here with passion and enthusiasm !
    there were certain level of curiosity and doubts in my mind which are now cleared with the help of this 1st episode.
    looking forward for the second one. (unfortunately can not download the same to use as a reference when needed)

  186. Steve Weiss on June 25th, 2011 10:48 am

    You will be able to download it when ep. 2 comes out

  187. lennart on June 25th, 2011 3:46 pm

    Thanks for the tip, it played well in Chrome. There’s possibly something funky with my firefox profile.

  188. richard m nathan on June 26th, 2011 10:58 am

    Brilliant comparison test. Helped me on most of my doubts. Saved me a lot of time on testing these cameras.

  189. Anonymous on June 26th, 2011 2:40 pm

    gh2? i don’t get it, all reviewers call it as good if not better than 7d.

  190. Guest on June 26th, 2011 4:58 pm

    DSLR’s have their widest dynamic range at base ISO. It can add a 1-3 stops more dynamic range. Testing at ISO 320 will not reveal their true potential in shadow detail. That being said it’s clear that highlights are real issue/limitation for the DSLR’s.

  191. misu on June 27th, 2011 3:53 am

    way to go!
    I just wonder about capturing the Panasonic af-101 and Sony f3 (4:4:4 s-log) uncompressed. I noticed some flickering in the low light test in some of the cameras. where did that come from?

  192. Scott Lynch on June 27th, 2011 9:56 am

    Hi Misu,
    The AF-100, and F3 were both being recorded to external recorders. Althought the F3 Slog update was not available to us at the time of shooting (the camera had been publicly released I think a week before)

    The flickering comes from the actual bulb used in the lamp, a CFL was used.

    -Scott

  193. Anonymous on June 27th, 2011 3:09 pm

    Can i download this? It’s been impossible to watch online…

  194. Zacuto on June 27th, 2011 3:48 pm

    Sorry your having issues, but not until the 2nd episode is released will downloads be available for this episode.  I would recommend trying to use a different browser if possible, that has cleared up the issues some users were having.  We are now using the vimeo embeds so if you can normally watch vimeo you should be able to watch it here. 

  195. Andy Brown on June 28th, 2011 10:26 am

    Any idea when the technical white paper will be released for episode 1?

  196. Susan Rapp on June 28th, 2011 2:41 pm

    Andy ~ we do not have the release dates yet from Bob at the SCCE http://thescce.org/ We will announce it when they publish them. Cheers, ~sue

  197. Susan Rapp on June 28th, 2011 2:45 pm

    Big thanks Richard ~ I’m glad we could help with your cam decision! We will have even more info and results in Ep2 + Ep3. Cheers, ~sue

  198. Susan Rapp on June 28th, 2011 2:51 pm

    Hi John “Raven” ~ Our amazing editor Karen Abad and production crew Daniel Skubal + Scott Lynch have been working overtime to get you these episodes. With all of the world-wide screenings + NAB screenings, SCCE testing…it just takes time to edit the enormous amount of footage. Thanks for watching and I promise it will be worth the wait. Cheers, ~Sue

  199. Daniel Lowe on June 28th, 2011 2:55 pm

    Daniel Lowe
    Amazing!  I am so happy that this group is doing this kind of practical, unbiased camera comparisons.  
     
    I would also have like to seen the GH2.. it’s been said, but not a big deal.   
     
    I’m more interested in the RED line myself, seeing how it does vs. Arri + Canon.  
     
    Thanks again for providing such helpful, professional information.

  200. Jacana Productions on June 29th, 2011 11:43 pm

    Thanks guys for another great test and I look forward to the upcoming episodes. One concern here is if the average Joe is going to buy a $5k Panny or a $2k Cannon are they really going to be able to afford a honking $80k Fujinon lens to throw on the end of it?

    If so then how would the lower end cameras hold up to dynamic range test with say a $500 or $1000 len and what would their number of stops be? 

  201. Jacana Productions on June 29th, 2011 11:45 pm

    Yeah I’ve noticed that at full screen it stutters quite a lot, even on my MacBook Pro that can happily play back 1080p youtube video. Perhaps it’s something to do with the Mogoloop player you are using?

  202. Jan on June 30th, 2011 8:06 am

    I am amazed how my little 7D can keep up with the big toys.

    It’s just wonderful for all those creatives around the world, who dont have the money for a serious, big rig.

  203. Scott Lynch on June 30th, 2011 9:43 am

    The lens won’t drastically change the dynamic range of the camera. One of the reasons we went with the Fujinon was that we didn’t want to cripple the higher end cameras with a lens that could not resolve the high amount of detail that the camera could capture. We’ll get more into this in the next episode.

    -Scott

  204. Chris Marino on July 2nd, 2011 4:37 am

    Thanks for your time. So offboard on the F3 was maybe 4:2:2 at approximately a high bitrate such as 220MB/s or so. Also I guess the question asked would be if you had used the new S-Log 10bit RGB out or not. Cheers. Can’t wait for episode 2!

  205. Anonymous on July 2nd, 2011 6:17 am

    Last camera shootout I were ecstatic. Now I am beyond ecstatic…I melted… I can’t belive the amount of effort,love and $ all these people have put in to these tests.
    And  it is very touching to see how humble the Zacuto-people are although they are 
    a very  important contributor.
    Yours
    JA

  206. Steve Weiss on July 2nd, 2011 11:22 am

    Thank you Guest, it was a labor of love.  I love creating documentaries and this one was probably the most ambitious and fun as well as rewarding.
    Steve

  207. Rob Lindsay on July 3rd, 2011 12:24 am

    Thank you so much to everyone for this. I will be using this episode for a long time to come. Beautifully done in real-world shooting enivronments.

  208. Alan on July 6th, 2011 9:12 am

    Very nice and very informative. GREAT points at the end about the script and cast etc. As well as that these are just tools, the DP still has out his or her heart into it. BTW: What was the doc shot on?

  209. HappyPappy on July 10th, 2011 4:00 am

    An exceptionally well done presentation.

    Of note what I found utterly remarkable was the performance of the inexpensive (around $1,200 USD) Nikon D7000 against absolutely cutting edge purpose equipment costing tens of thousands of dollars.

  210. HappyPappy on July 10th, 2011 4:01 am

    An exceptionally well done presentation.

    Of note what I found utterly remarkable was the performance of the inexpensive (around $1,200 USD) Nikon D7000 against absolutely cutting edge purpose equipment costing tens of thousands of dollars.

  211. Andre Peniche on July 11th, 2011 1:10 pm

    Congratulation for such a outstanding documentary and test.
    Really, well done!

  212. Trey T on July 11th, 2011 1:20 pm

    I didn’t quite catch the specs of the F3 but was it recorded w/ the upgraded firmware? 

  213. Scott Lynch on July 11th, 2011 3:01 pm

    Hi Trey,
    We did not have the upgraded firmware at the time of testing. The tests were shot in February and March and the firmware was in beta until April of this year. So no S-log on the Sony F3 footage. What you are seeing is the 4:2:2 that comes out of the HD-SDI being recorded on a Codex or s.Two. We’ll talk more about the external recording methods and compression in Episode 2.

    -Scott

  214. jORdon Price on July 12th, 2011 2:08 am

    Great test!

    Gotta agree with Happypappy.  The Nikon had so much more detail than the Canons.  Guess not having a PL mount didn’t hurt it at all – WOW for those Zeiss lenses.  However the ailising on the dress was horrid. 

    Anyway well done Sony.  The F35 dominated (as did film in the highlights) at the high end and Nikon at the low.  Maybe Canon will do better in the next series of tests.

  215. Daniel De Avila on July 12th, 2011 10:14 am

    <!–StartFragment–>

    Hello

     
    Thank you very much for doing these documentaries.  Nicely done and looking forward to the next episodes. 
     
    Umm…please forgive the question but was wondering if the music tracks used where available on some royalty free site?  I was interested in using them in an upcoming edit.

    Many thanks 

    <!–EndFragment–>

  216. Scott Lynch on July 12th, 2011 6:24 pm

    Hi Alan,
    Most of the documentary was shot on an EX3, but there is a mix of 5DM2, 7D and HPX170 in there as well.

    -Scott

  217. Scott Lynch on July 12th, 2011 6:28 pm

    Hi Daniel,
    The music is licensed through APM music (www.apmmusic.com). It’s not royalty free, but the company is great to work with.

    -Scott

  218. Daniel De Avila on July 13th, 2011 4:54 am

    Thank you very much.

    Its very appreciated.  

  219. Anonymous on July 13th, 2011 7:48 pm

    That was awesome, ALEXIA was amazing.

  220. Anonymous on July 14th, 2011 2:00 am

    whens next one?

  221. JeremiahFry on July 14th, 2011 5:55 am

    As a new owner of the Zacuto Double barrel, and a lucky owner of the Kessler Crane Philip Bloom Sig Series Pocket Dolly, I cant thank you enough for spending the time and money on doing incredible test like this. It helps me, whom on a tight budget, feel more confident, educated, and prepared to handle so much more that may come my way. Please continue to provide this vital information, because it truly helps me better my passion, and ultimately my life.

  222. Kit Laughlin on July 14th, 2011 6:03 am

    Flat out brilliant. Thank you, sincerely, and see you next month. For me, the best “shootout” ever, so far.

  223. Steve Weiss on July 14th, 2011 9:36 am

    You’re welcome Jeremiah, thanks for supporting Zacuto as well.

  224. Steve Weiss on July 14th, 2011 9:40 am

    Thanks kit, it’s coming on the 20th.

  225. Daniel De Avila on July 15th, 2011 7:57 am

    <!–StartFragment–>

    Hello
     
    During the underexposed scenes, my eyes didn’t look at the dress or surrounding details but rather the table light.
     
    With certain cameras (like the AF-101), the table light produces a large amount of flickering.   Perhaps this isn’t relevant for the test…but any ideas why? 

    Lower bit rate of the recording camera? Odd frequency of the bulb? Stop asking silly questions…? 
    <!–StartFragment–>

     

    <!–EndFragment–> <!–EndFragment–>

  226. Scott Lynch on July 15th, 2011 1:18 pm

    Hi Daniel,
    The light on the table is a Compact Florescent Lightbulb, or CFL. These lights flicker out of sync with the shutter, which is why some cameras flicker with it. The shutter speed was kept at 180 degrees or the closest available equivelent on all of the cameras.

    -Scott

  227. John Fishback on July 17th, 2011 12:08 pm

    I would love to see a test with some of these cameras being recorded with a Ki Pro or similar, rather than their somewhat limited codecs.

  228. Scott Lynch on July 17th, 2011 12:21 pm

    Hi John,
    Most of the footage you are seeing in Episode 1 was recorded offboard. We made extensive use of the Codex and the s.Two which are offboard recorders capable of capturing complete 444 data. Some of the cameras could not send out a clean signal (the DSLRs) so all of their footage is with the onboard codec. 

    Episode 2 (coming out next week) will cover compression and we’ll get into more detail and show the differences with onboard and offboard recording.

    -Scott

  229. Daniel De Avila on July 18th, 2011 3:55 am

    Many Thanks 

  230. Anonymous on July 18th, 2011 3:49 pm

    why not the D3s

  231. Scott Lynch on July 19th, 2011 3:26 pm

    The D3s was not included as it only records 720p video. To see this camera compared against some other DSLRs, please watch our Great Camera Shootout 2010, in our “Web Series” tab at the top of the page.

    -Scott

  232. Anonymous on July 20th, 2011 10:54 am

    How about GH2?

  233. Anonymous on July 20th, 2011 12:36 pm

    Yes, what about the GH2??

  234. Anonymous on July 20th, 2011 12:36 pm

    Yes, what about the GH2??

  235. Chris Morgan on July 20th, 2011 1:10 pm

    wheres episode 2?????

  236. Mandy Rogers on July 20th, 2011 1:21 pm

    Sorry to say Episode 2 is delayed 1 week. We will premiere episode 2 on July 27th. Our Editors have been working very hard (night and day) on this and we have a couple things to polish up on the edit. Thanks for your support and come back on the 27th! 

  237. Andy Brown on July 20th, 2011 1:30 pm

    Is the white paper coming at the same time?

  238. guest on July 20th, 2011 4:59 pm

    the 20th is here where is the video??? ;) :-P

  239. guest on July 20th, 2011 5:00 pm

    i just read that it was delayed :(

  240. Ron Garcia, ASC on July 21st, 2011 12:35 pm

    I finally was able to watch this shoot out.  Thank you Bob Primes! and all the others that participated in this test series.  I found it to be very illuminting ( pardon the pund ) I watched this on my Imac with the brightness level placed in the middle of the scale and cut out the screen size from a black show card and taped it over my screen and leaving some of my 18% gray of my imac screen surrounding the black card. in this way I was able to judge the low shadow areas of the scene more percisely.

    Look forward to seeing parts 2 and 3.

    Ron Garcia, ASC

  241. Steve Weiss on July 21st, 2011 4:53 pm

    Glad you are enjoying our show Ron.  Ep. 2 coming next week.  But Ep. 3 has some real interesting surprises in it.

  242. Josh Larson on July 27th, 2011 12:07 pm

    Where’s Episode 2!!!!

  243. Mandy Rogers on July 27th, 2011 12:18 pm
  244. Armando on July 28th, 2011 1:47 am

    Hi,
    don’t forget to make episode 1 downloadable from Vimeo… these series are so cool that I love keeping them in my storage place for future review.
    Thanks for the great work that you constantly do!!!
    Cheers,
    Armando.

  245. Scott Lynch on July 28th, 2011 11:24 am

    Hi Armando,
    I just made this episode downloadable from vimeo.

    -Scott

  246. Armando on July 29th, 2011 3:45 am

    Thank you Scott.

  247. Emanuel Eddyson on July 29th, 2011 2:39 pm

    Great tests! What picture profile was used on the Canon DSLRs?

  248. Dave Barnard on July 29th, 2011 2:39 pm

    What recording codecs were used for the tests? Kinda important!
    The codec has a huge effect on image quality, but the only recording formats mentioned are film stocks!

    A bit shocking to not mention them on such an epic high end digital camera test, the codec is the digital film stock!
    (well, codec & sensor together)

  249. john on July 29th, 2011 5:00 pm

    what jumped out at me right away was the ISO choice they ended up choosing for the base ISO stuff. Everyone and I mean everyone knows that incremental ISO bumps from a DSLR base is not what you want to use. Either choose ISO 400 or ISO 200 or 800 but 320? That is a no no with digital

  250. Horatio on July 30th, 2011 10:22 am

    That’s pretty great. I wish you guys would upload a smaller video with just the test footage and not the rest of the 30 min video for easy reference.

  251. Scott Lynch on August 1st, 2011 10:57 am

    Hi Horatio,
    We are working on getting a download of just the test footage available via a torrent in a few days. It’ll be as 1920×1080 ProRes4444 files, which will be a good reference. We’ll make an announcement when that is available.

    -Scott

  252. Scott Lynch on August 1st, 2011 11:04 am

    Hi Dave,
    For the most part we recorded the best quality clean footage that was possible. For the F35, Alexa, F3 and AF100 you are seeing footage recorded offboard on a Codex or an s.Two. For the Red One, Flex, Weisscam and the DSLRs the onboard recorder was the best available way to record the footage. 

    If you check out Episode 2, we show the differences in the onboard and offboard codecs.

    -Scott

  253. Scott Lynch on August 1st, 2011 11:07 am

    Hi Emanuel,
    We used the Profile “Neutral” with Sharpness = 0, Contrast = -2, Saturation = 0, Color Tone = 0. 

    In case you are wondering why we did not use the Technicolor profile, the reason is that these tests were conducted February and March before that profile had been released or announced.

    -Scott

  254. Scott Lynch on August 1st, 2011 11:39 am

    Hi john,
    I’m confused when you say “everyone and I mean everyone” because I have found that for example shooting at 320 instead of 200 or 400 on a 5DM2 will produce less noise. The other thing is that “ISO Ratings” in digital are relatively arbitrary and every camera manufacturer is allowed to determine how to define ISO Ratings for their camera. 

    I’d also like to point out that the base rating of 320 at f/2.0 that Matt Sielgel mentions was the base light level that he used in that scene. He does that to give you an idea of what the light levels were in the scene. It does not mean that every camera was set to ISO 320 and every lens was set at f/2 in that scene, and perhaps we were not clear enough, so I apologize if that confused anyone.

    Not every camera was set to an ISO of 320 for the Underexposure scene and Overexposure scene, the camera masters could manipulate the ISO to produce the widest Dynamic Range for their camera. For example the Alexa was shot at an ISO of 800 because at that ISO it can resolve 7 stops over and 7 stops under correct exposure. The F/stop of the lens and ND filters were then used to compensate the exposure to bring it to an equivlent of 320 @ F/2. So in that scene the Alexa was shot at ISO800, f/2.33, with an ND3.

    When we release the test footage, I’ll include a spreadsheet that lists how each camera was set for each scene.

    -Scott

  255. Anonymous on August 12th, 2011 4:23 pm

    THANK YOU!

  256. Anonymous on August 14th, 2011 8:43 am

    Thanks for sharring.

  257. Randolph Sellars on September 8th, 2011 11:43 pm

    First, thanks to all those involved with these incredible tests. Very thorough and informative. Scott, thanks for clarifying the difference between the base lighting at 320 ISO and camera ISO’s used for actual exposure.  I have two questions. Were the DSLR’s all exposed with a 320 ISO rating?  What gamma setting was used with the Sony F3?  Was a different gamma setting used for for the highlight test compared to the low light test? In each case, that would greatly affect the over/ under exposure dynamic range. 

  258. JL on September 10th, 2011 9:19 pm

    Call me crazy for asking this, but, what was this documentary shot with. It looked like a Sony EX3. Is that the only camera that was used?

  259. Steve Weiss on September 11th, 2011 9:06 pm

    Lot’s of different cameras, HVX200′s, EX3′s, DSLR’s.  It’s a documentary and you use whatever tools you need to get the moment.  For Docu shooting I prefer HVX200′s, EX3′s or traditional shoulder style cameras because you need to be able to not be fiddling with shallow DOF when you are trying to get the moment.  You can lose it that way.  Great DOF is what is needed when getting moments.  Plus, they have XLR audio jacks for getting good sync sound.    For sit down interviews you can use DSLR’s when you have time to get focus.  I believe in using the right tools for the right job. No camera is perfect for every type of shooting.  If you don’t have the right camera, borrow it from a twitter friend or rent it.  Renting is surprising cheap considering most people don’t shoot that long.  And you might not be aware that if you rent for 3 days you get to keep the gear for 7 days (that’s called a 3 day rental week).  Some gear I’ve gotten for a 2 day rental week.  Once I even got a 35mm camera package for a week long shoot for a 1.5 day rental week.  Amazing.

  260. Mark Christian on September 18th, 2011 1:11 pm

    Does anyone know if the Sony F3 in this had the Slog upgrade at this point? Thanks.

  261. Scott Lynch on September 19th, 2011 4:53 pm

    Hi Mark,
    Unfortunately S-log was not available for the F3 when the tests were shot. We had shot this in Feb/March and the first S-log upgrade wasn’t available until mid-April.

    -Scott

  262. Anonymous on September 27th, 2011 10:09 am

    Thanks Scott.  I am looking to shoot something where I really need that kind latitude, but can’t afford the Alexa and have yet to find some good test footage of S-log.

  263. Ed on October 4th, 2011 8:53 pm

    Here is a camera test we did for the canon 5D MII:

  264. rick on October 21st, 2011 12:48 am

    Thanks Steve and Zacuto!

  265. et_260563 on November 1st, 2011 1:08 pm

    Please give details on calibration of luminous intensity of the 16 active f-stop fields,
    because having them visible in sRGB image shows that this is not 16 f stops dynamic.

    It would also be of interest to have the real raw data at these fields to make own calculation
    of dynamic range.

    (I’m test engineer at interntional high tech corporation having done such kind of test
    for quality asurance of massproduction of digital camera modules)

    BR
    et

  266. Scott Lynch on November 1st, 2011 2:09 pm

    Hi ET, device that was used to produce the even illumination field is called an LE6 and is made by Image Engineering. More info about the illuminator can be found here: http://www.image-engineering.de/images/downloads/manuals/illumination_devices/LE6-100.pdf

    The actual chart that was used is made by ARRI. it has two sets of holes that have different densities of film. Each hole and chart is checked with a special densitometer that rates the density of that particular hole. Each hole is specially calibrated since it is impossible to keep the density of each hole exact from chart to chart. More info on the chart can be found here: http://srv1.webstaging.de/fileadmin/media/arri.com/downloads/Camera/Camera_Technologies/2011_05-13_Dynamic_Range_Test_Charts_Brochure.pdf

    The test footage in this video has obviously been compressed and should only be used for illustrative purposes and can not be preciecly measured. You also need specific software along with the specific chart density numbers to properly determine the dynamic range measured in the charts. Because of these specific requirements, we left the measurement of the dynamic range numbers to be done by Jack Holm from Tarkus imaging. 

    -Scott

  267. Anonymous on November 2nd, 2011 5:43 pm

    Hi Scott,

    thx. for infos, i see they didn’t make it easy, but it’s optimized for Alexa (e.g. 20 lp/mm spatial pattern)
    which means DSLRs with higher res cannot benefit from their res.
    For 4k image capture 20 lp/mm is not representativ (… > 50 lp/mm i’d prefer)
    Where i’m still a little confused is the gamma of 3.0 in dark range and 0.6 in bright range of the chart:
    retrieving the true f-stops may (will!) become more erronous with out lot of averaging.

    It now would still be of interest to have the real raw data at these fields to make own calculation  
    of dynamic range.  (of course i would also need the color matrix coeffs to decode RGB pattern)
    (or TIFF image data of some images out of the stream is also convinient)

    BR
    et

  268. Anonymous on November 2nd, 2011 5:43 pm

    Hi Scott,

    thx. for infos, i see they didn’t make it easy, but it’s optimized for Alexa (e.g. 20 lp/mm spatial pattern)
    which means DSLRs with higher res cannot benefit from their res.
    For 4k image capture 20 lp/mm is not representativ (… > 50 lp/mm i’d prefer)
    Where i’m still a little confused is the gamma of 3.0 in dark range and 0.6 in bright range of the chart:
    retrieving the true f-stops may (will!) become more erronous with out lot of averaging.

    It now would still be of interest to have the real raw data at these fields to make own calculation  
    of dynamic range.  (of course i would also need the color matrix coeffs to decode RGB pattern)
    (or TIFF image data of some images out of the stream is also convinient)

    BR
    et

  269. Vincent Hogan Jr. on December 5th, 2011 1:04 pm

    Great tests! Very helpful to a wide array of scenarios…

  270. Chris Mapes on December 13th, 2011 3:30 am

    Great comparisone and data collection…

  271. John Banovich on January 13th, 2012 12:49 am

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    Nice open and fair evaluation. I can only assume those digital camera’s with on-board recording (SXS, SD, etc) used the highest res on-board codec and those without (F35, Alexa, etc) went to a deck or drive based system. I am excited to see the results of the next set of tests, especially the one pertaining to compression. If I may suggest you explore SSD and 4:4:4 (Cinedeck, SS-R1, Gemini 4:4:4, etc) recording as some of these camera’s output imagery will change dramatically.
    <!–EndFragment–>