Direct Comaprison: F3 vs Red Scarlet.... Check it out....

[powervideo]

I like the f3's "Feel" more.
But if i had to shoot digital, i;d shoot Alexa, and if i couldnt have an alexa, id shoot on F3.

I was on the Skyfall set last week, and they are shooting on the Alexa. Roger Deakins who I worked with on Sid & Nancy, is the DOP, and he is a real fan of digital. If I had the dough (and could afford the lenses) and could make it pay for itself in the next two years, this is the camera I would buy. But with all the realities, the F3 is perfect at the moment.

 

[Matt Gottshalk]

Interested in your findings. I was hesitant to say anything as I don't have another comparable level camera on hand to test myself, but I find I'm getting really pleasing skin tones out of Scarlet, way better with Redcolor 3. I was expecting Scarlet to hold up a little better then it seemed to in this test. That said, every time I see F3 footage I do find it quite pleasing.

Yeah RedColor 3's skintones look sweet.

Also, I always shoot with a grey card with any of the new digital cinema cameras, especially with ones that shoot raw:

 

[bill totolo]

Nice comparison. I wish the Sony F3 was as popular of a name with producers and directors as Red is. Many times I have to fight with producers to let me use my F3 over my 5D.

Amen, Cory. I've been renting Super Speeds for my F3 and shooting wide open to emulate the razor thin dof of the 5D in an effort to lure producers away from their beloved 5D's.
In the end they're relieved to be working with a proper video camera again.

 

[Filippo Chiesa]

Red Epic Vs Sony PMW-F3 Vs Canon C300

The goal of this test is to compare the latitude of these three cameras:
Red Epic, Sony PMW-F3 and Canon C300.

Red Epic recorded RAW on-board in Red Log 4K HD.
Sony PMW-F3 recorded in S-Log both in DPX on Gemini 4:4:4 10 bit and on-board.
Canon C300 recorded in Canon-Log both in DPX on Gemini 4:2:2 8 bit and on-board.

There are four tests:
1) Diffused light, from +3 stops to -5 stops.
2) Varying exposure in relation to indoor, outdoor and medium light.
3) Diffused light at 0 + spot light from 0 to +3 1/2 stops.
4) Sensors' quality test with charts.

You can download the Pro Res HQ video here: http://www.adcom.it/Testcomparativo/
The file is huge, about 22 GB, so it's divided in 31 parts.

I will upload the H.264 version as soon as possible.

Enjoy!

 

[Cory Braun]

Amen, Cory. I've been renting Super Speeds for my F3 and shooting wide open to emulate the razor thin dof of the 5D in an effort to lure producers away from their beloved 5D's.
In the end they're relieved to be working with a proper video camera again.

Yea once I actually convince them to use it, they love it.

 

[CinemaElectronika]

Red Epic Vs Sony PMW-F3 Vs Canon C300

The goal of this test is to compare the latitude of these three cameras:
Red Epic, Sony PMW-F3 and Canon C300.

Red Epic recorded RAW on-board in Red Log 4K HD.
Sony PMW-F3 recorded in S-Log both in DPX on Gemini 4:4:4 10 bit and on-board.
Canon C300 recorded in Canon-Log both in DPX on Gemini 4:2:2 8 bit and on-board.

There are four tests:
1) Diffused light, from +3 stops to -5 stops.
2) Varying exposure in relation to indoor, outdoor and medium light.
3) Diffused light at 0 + spot light from 0 to +3 1/2 stops.
4) Sensors' quality test with charts.

I will upload the H.264 version as soon as possible.

Enjoy!

Great Filippo... Looking forward your h264 the soonest possible!

 

[Filippo Chiesa]

Here is the H.264 version: http://vimeo.com/40381084

 

[Filippo Chiesa]

The Epic with the new firmware is much more better.

When we made this test it was not ready.
IMHO, the F3 is the best quality/price camera of the bunch.
The C300 is a great toy but overpriced for an 8 bit.
The Epic is a fantastic camera for cinema.​