5D MKIII specs

wow, that 12800 windmill test is CLEAN!!

but yes, it seems at high iso there's a lot of noise reduction, which leads to loss of detail

I downloaded the dpreview high-iso tests, resampled to 1920x1280, and cropped a particular 200x200 area
this is ISO-100 (left) vs ISO-25600 (right):

5d3_100_25600.jpg

clean, but with less detail
I can live with that


edit: also, it seems two copies of the same lens were used on that windmill test? I'm not sure, there's too much light on that shot, but the blog post only talks about the low-light test
http://mono-logue.air-nifty.com/monolog/
http://translate.google.com/transla...=1&u=http://mono-logue.air-nifty.com/monolog/
 
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alpi69 said:
Well I can tell you a friend of mine was shooting for a BBC nature-documentary which was to be broadcast in 4 shows. (high-class, 12 months shoot all over the globe) and he was shooting RED with a crew of 3; in the desert, in strip-clubs, on the Empire stat building...you name it. and the other 3 shows got produced on HDCam and Varicam. When he got back he got booked for more while the others had to re-shoot big chunks.

Mind you I am not a RED guy at all. IMO 4K is overhyped by....well....RED. But on the top level 1080p is slowly setting in as the standard. Of course content is everything and at home on my 720p Panasonic 42" Plasma everything shot in 720p and 1080p looks gorgeous enough. I personally don´t need a the latest OLEDfullHD mamba-jamba at all when I watch a film/clip with a good script. But my clients see the differences between an EX1 (which is plenty sharp), 7D/5D and F3. And usually they opt for the better, because the pricediffernece in a production is actually not as big as the mere sales price for the naked cams makes it look.

A 5D is actually not that cheap when you calculate the frankenrig to it. The audio-control in the MKIII is useless in a "real" production, because the plug and pre-amp are not good enough. Heck, even on the C300 with its two channels you need a audio-guy to record 4 channels. So there is more to the story than what you pay at best-buy and the specs on paper.

For many the 5DMKIIIwill be more they ever need, my 7D is able to produce better images than I can dream of. The beauty is the limitations become less and less. With Act of Valor being so big now I can see a lot of indie-movies shot on 5Ds of all flavors, because it is the best example the end consumer of our films care only about thing: CONTENT/STORY.
Click to expand...

To be clear, Discovery US still does not allow the use of the RED except in unusual cases.

The tape based 720p varicam is still the go to camera (because of perceived workflow advantages).

My point is that 960x720 is still the standard on these very well thought of networks, believe it or not.
 
James0b57 said:
Thanks HHL.

It is looking like it is hitting a low light sweet spot. My only wish for the 5dmk3, is for it to do crop modes for video, like nikon. I would shoot f2 on APSC, but not on a FF35 sensor camera. Okay, I would.
Click to expand...

I believe it does do crop modes in video doesn't it? I saw on the Canon website the feature of "Aspect Ratio". (I just looked at it, aaaaaand, I don't know...maybe it doesn't?)

Cheers anywho!
 
I'm joining the party late I see! I for one think Canon did an amazing job with this camera because:

A- They kept the MP down...which will allow for incredible gains at high ISO, looks promising so far
B- They worked to get rid of THE NO 1 complaint for MOST video shooters- Moire/aliasing, looks like they minimized it A LOT, along with reducing JELLO/SKEW
C- They have added the headphone jack/audio level meters/timecode
D- They are using an intraframe codec that should be great for post production
E- They have done all of this with a STILLS camera, it virtually (figuring for the economic state) costs no more than the original 5D that had NO video. and as a stills cam...I predict this one to be a complete HOME RUN fave for a ton of shooters. Great AF system, great high ISO, improved speed, improved DR, fantastic design.
Conclusion - I am impressed.
I know many want RAW this or that, 1080 60P, yadda yadda yadda.... It's a FANTASTIC stills cam, oh and it just so happens it will be a highly improved full frame "cinema" cam if you so choose.
 
Cosimo Bullo said:
To be clear, Discovery US still does not allow the use of the RED except in unusual cases.

The tape based 720p varicam is still the go to camera (because of perceived workflow advantages).

My point is that 960x720 is still the standard on these very well thought of networks, believe it or not.
Click to expand...

I agree 720p is plenty for the everyday use and viewer. The RED has workflow issues on set and in post, that´s why it has a hard time and as I said I don´t think the resolution is worth it (at this moment in March 2012). But in good hands the RED undoubtedly outpaces the 5D. It also costs 15x, 20x.....
 
If you ever see 5K projected @ 2K, digital projection... it's cliche to say, but the "looking through a window" thing is pretty accurate. Truly face melting. And not in the harsh digital sort of way, just "clearly life like" sort of way. It's incredible. I'm curious to see a 4K projection now.

It will definitely make you not want to shoot anything else, well... if you're susceptible to pixel-envy.
 
HHL said:
I believe it does do crop modes in video doesn't it? I saw on the Canon website the feature of "Aspect Ratio". (I just looked at it, aaaaaand, I don't know...maybe it doesn't?)

Cheers anywho!
Click to expand...
I have only seen one reference to the crop mode in video, and I do not remember which site I read it from. Also, to be honest, crop mode isn't the 'only' thing wish for. There is a few other things, but crop modes are high up on the list.
 
Where Red loses the battle for me is in post. I really like the image and handling of the Scarlet and Epic, but there are too many additional costs and slowdowns in terms of post workflow and data wrangling as compared to the C300/Alexa/F3/etc when working with a small budget. The C300 is lighter, requires less media/batteries, puts out files that can go straight into the edit bay, allows next day turn arounds of rough edits/dailys with little fuss, and saves time/money in post. I'd love to shoot the next feature I'm on with an Epic, but I just don't think I can justify the additional costs when there are other options that look amazing at 1080p. For all of the doubts at launch, the C300 fits like a glove.
 
stefancolson said:
Where Red loses the battle for me is in post. I really like the image and handling of the Scarlet and Epic, but there are too many additional costs and slowdowns in terms of post workflow and data wrangling as compared to the C300/Alexa/F3/etc when working with a small budget. The C300 is lighter, requires less media/batteries, puts out files that can go straight into the edit bay, allows next day turn arounds of rough edits/dailys with little fuss, and saves time/money in post. I'd love to shoot the next feature I'm on with an Epic, but I just don't think I can justify the additional costs when there are other options that look amazing at 1080p. For all of the doubts at launch, the C300 fits like a glove.
Click to expand...

Agree to disagree.

C300 shooting C-Log requires a DI session. You aren't handing that off to a client and saying "run with this", which means you're transcoding anyway.

Same thing if you're going to get the best out of any of those other cameras. F3 without S-Log? Then why F3?

The only difference is drive space and time it takes to convert files.

If 5K RAW cost people 10K flat (heck, 5K) today, post wouldn't even be a concern. I've seen so many people rag on RED workflow (some of which say they got bitten) buy a Scarlet all of a sudden.

What happened? Price. As usual
 
James0b57 said:
I have only seen one reference to the crop mode in video, and I do not remember which site I read it from.
Click to expand...

You probably saw it here: http://www.eoshd.com/content/7289/5d-mark-iii-round-up

"Movie crop mode?

The official specs provided by Canon mentions the following under video operation:


“During movie shooting or if movie cropping has been set, the image cannot be magnified for manual focusing.”


Yet there is no mention of a crop mode. I’m expecting one to be present, with at least an APS-C mode and if not, similar to the 600D."
 
I would hope for 1.5x and 3x crop modes (using 3840x2160 and 1920x1080 photosites from the sensor)
 
Simon Shasha said:
You probably saw it here: http://www.eoshd.com/content/7289/5d-mark-iii-round-up

"Movie crop mode?

The official specs provided by Canon mentions the following under video operation:


“During movie shooting or if movie cropping has been set, the image cannot be magnified for manual focusing.”


Yet there is no mention of a crop mode. I’m expecting one to be present, with at least an APS-C mode and if not, similar to the 600D."
Click to expand...

Yes! That is the exact quote I was thinking about. It didn't directly say "We definitely have crop modes", but it more or less means the same thing. The only issue, is I haven't found that info in other places. So... have to hold my thoughts on that.

Thanks for posting that. =)
 
stefancolson said:
Where Red loses the battle for me is in post. I really like the image and handling of the Scarlet and Epic, but there are too many additional costs and slowdowns in terms of post workflow and data wrangling as compared to the C300/Alexa/F3/etc when working with a small budget. The C300 is lighter, requires less media/batteries, puts out files that can go straight into the edit bay, allows next day turn arounds of rough edits/dailys with little fuss, and saves time/money in post. I'd love to shoot the next feature I'm on with an Epic, but I just don't think I can justify the additional costs when there are other options that look amazing at 1080p. For all of the doubts at launch, the C300 fits like a glove.
Click to expand...

You have expensive taste in gloves. :evil:
 
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