I posted this elsewhere in a more technical thread.
For those interested in seeing how the 5DIII RAW with Magic Lantern holds up in a comparison with high end tools. Here is a test of 35 mm film, the Red Dragon, and Canon 5DIII Raw on Vimeo:
https://vimeo.com/88834695
This is pretty amazing to me, and should quiet some of the chatter about what we can and cannot do with the tools that we have!
It is also amazing to see someone testing the $120 40 mm panckae alongside an $8,000 Cooke mini and a $20,000 regular Cooke! What amazing tools we have available today.
Also from the comments on Vimeo, from Dale McReady, about using the 5D3 in the past:
For those interested in seeing how the 5DIII RAW with Magic Lantern holds up in a comparison with high end tools. Here is a test of 35 mm film, the Red Dragon, and Canon 5DIII Raw on Vimeo:
https://vimeo.com/88834695
Atlantis Season2 Comparison Camera Test
from Dale McCready
from Dale McCready
A comparative test of various lenses and cameras for Atlantis Season 2 at Take2 Film in London.
Sitting in is Actress Katherine Beresford. 2nd AC Alex Parish.
Our main format to shoot is 35mm film but it's interesting to compare the other formats out there at the moment. I know the Alexa well so didn't need to test it but I wanted to look at how the smaller cameras would hold up and so tested my 5Dmk3 in Magic Lantern raw mode and also I was able to get the Red Dragon in also.
This isn't a precise test of latitude or fidelity, but a real world test of matching cameras to each other. The 35mm Kodak Vision3 200T film was shot on an Arri ST camera, processed and then scanned on a spirit before being imported into the Baselight system at Prime Focus in Soho, London. There Kevin Horsewood and I looked at getting a standard grade on the film. The Red R3Ds and CinemaDNG files from the 5Dmk3 were loaded straight into the Baselight and debayered from raw files as we graded. The .R3Ds were 6K and debayered using RedLogFilm.
Lenses used were Cooke S4s and Cooke S4 minis on the PL mount cameras.
Canon 40mm Pancake and Lomography/Zenit Petzval 85mm lenses were EF mounted lenses for use on the 5D.
Due to the differing sensor sizes the lenses weren't perfect matches in field of view.
Filters tested were Schneider Classic Softs, Tiffen Black Diffusion FX, SoftFX and Black ProMists.
In testing the filters I was looking at skin detail, halo (candle glow) and filter patterning showing up in the bokeh.
Sitting in is Actress Katherine Beresford. 2nd AC Alex Parish.
Our main format to shoot is 35mm film but it's interesting to compare the other formats out there at the moment. I know the Alexa well so didn't need to test it but I wanted to look at how the smaller cameras would hold up and so tested my 5Dmk3 in Magic Lantern raw mode and also I was able to get the Red Dragon in also.
This isn't a precise test of latitude or fidelity, but a real world test of matching cameras to each other. The 35mm Kodak Vision3 200T film was shot on an Arri ST camera, processed and then scanned on a spirit before being imported into the Baselight system at Prime Focus in Soho, London. There Kevin Horsewood and I looked at getting a standard grade on the film. The Red R3Ds and CinemaDNG files from the 5Dmk3 were loaded straight into the Baselight and debayered from raw files as we graded. The .R3Ds were 6K and debayered using RedLogFilm.
Lenses used were Cooke S4s and Cooke S4 minis on the PL mount cameras.
Canon 40mm Pancake and Lomography/Zenit Petzval 85mm lenses were EF mounted lenses for use on the 5D.
Due to the differing sensor sizes the lenses weren't perfect matches in field of view.
Filters tested were Schneider Classic Softs, Tiffen Black Diffusion FX, SoftFX and Black ProMists.
In testing the filters I was looking at skin detail, halo (candle glow) and filter patterning showing up in the bokeh.
This is pretty amazing to me, and should quiet some of the chatter about what we can and cannot do with the tools that we have!
It is also amazing to see someone testing the $120 40 mm panckae alongside an $8,000 Cooke mini and a $20,000 regular Cooke! What amazing tools we have available today.
Also from the comments on Vimeo, from Dale McReady, about using the 5D3 in the past:
"I've used the MK3 with Raw cut in with Alexa on BBC's In The Flesh for some action sequences and insert/macro photography and it looked great.
Same deal here. For me it was about not being able to pick up the 35mm cameras and really throw them around. So could I use the 5D instead (which I already own) to get some more kinetic shots I couldn't otherwise? In the end I've been using it more on the gimbal and cable cam as a remote head camera, but did shoot some shots on a long pole for some fights too.
I was trying to sneakily show the producer where the state of the art is with the Dragon too, as though I love shooting 35mm, the bulk and weight of the cameras (and cost of stock) really makes me want to push in the digital direction now. I can get more for the money on screen and that's the bottom line for me as the DP. I'm not overly romantic either. Give me a camera that makes good pictures in the right situation and I'm happy."
Same deal here. For me it was about not being able to pick up the 35mm cameras and really throw them around. So could I use the 5D instead (which I already own) to get some more kinetic shots I couldn't otherwise? In the end I've been using it more on the gimbal and cable cam as a remote head camera, but did shoot some shots on a long pole for some fights too.
I was trying to sneakily show the producer where the state of the art is with the Dragon too, as though I love shooting 35mm, the bulk and weight of the cameras (and cost of stock) really makes me want to push in the digital direction now. I can get more for the money on screen and that's the bottom line for me as the DP. I'm not overly romantic either. Give me a camera that makes good pictures in the right situation and I'm happy."
