Compared: F3, Alexa, Red, 35mm, 16mm and 1D.

I did "Sid and Nancy" with Roger Deakins. It was an amazing experience early in my career. I always remember him as very quiet on set; just got on with the job. The cinematography almost looked surreal.
 
I view being a DP as a learning curve. Some things you just learn to overcome through experience. However, a good to great camera gives you less things to worry about, and you'll screw up a little less because it doesn't have as many 'gotchas'.
 
F3 in rec 709 might put a yellow band in an overexposed area while it could be cleaner in a cine gamma. Can't say anything about the other cameras and I didn't look at that shot.
 
Lenilenapi said:
F3 in rec 709 might put a yellow band in an overexposed area while it could be cleaner in a cine gamma. Can't say anything about the other cameras and I didn't look at that shot.
Click to expand...

Yes I've had this happen myself. The colour is punchy in 709 but if a face over-exposes, it gets downright ugly with yellow banding, or clipping if you wish.
 
The whole time, I was like Cam A is definitely the best... No question. And turns out it was the Alexa! Sad though for my budget :/
 
Thanks for linking, glad that John got to put this up. Interesting to see the responses and how different eyes respond!

Didn't realize I was going to get to see what the results were at the end, but consistently thought C and D looked better overall, with D taking home skin and C taking overall fidelity when it came to clarity, noise. The Sky in C was the only one not clipped to all hades, which is pleasing to me, personally.

A was a close third, then E, which had a lot of aliasing going on in the exterior daylight wide. Surprising that was F3, maybe something was up with the export? Are other F3 owners getting aliasing like that on wide horizontal lines?

As for the 2x Crop, it clearly illustrates what was discussed here a pair of months ago about advantages when cropping is concerned, or recomposing an image. A valid test, Alexa scaled did pretty well!

To be fair, though, just looking at the footage it seems that they had a far better time (or more experienced RED operator) treating the MX in production and post than the other camreras, as even the raw image looked like a good base to where even a simple curve would bring out the best.

Without F3 S-Log and Arri Raw, it seems the two cameras, F3 and Alexa respectively, need to be treated as close to final as possible?

Wonder what ISO/settings for each camera at night?
 
The alexa does that to who ever shoots with it. Three dp's I'm close with, (early red adopters) recently did their first alexa jobs, and now are allllll about the german girl. You don't really expect it to be "that" good. But then, it just makes you say wow.
 
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