F3: Epic VS FS100 footage from a show I shot

K

klk

Well-known member
I posted this on the other forum, but thought to post it here too as the small Sony's share DNA.

https://vimeo.com/60618580

This is not a test. This is what went down during production- the switch from Epic and MX to FS100. I chose shots that had something in common, sort of. If this was a side by side test, yes, we would all see the difference. By the time you get through post, and put it up online and simply watch it, is there such a difference? Does the audience really care what camera we shoot on? Did the network care what we shot on? No, no and no.

Neither camera would have been my choice- considering the budget I asked for F3's right from the beginning but had to shoot with the Reds and FS100 in the end.

I'll post the results later today/tonight.
 
nice video. my bet is those beauty shots were all done with RED. Some of those wides weren't as pretty and my guess would be the FS100. We shall see. :cool:

As for key differences between the two cameras if just shooting "standard video" very Rec709-like I doubt you'll see a lot of difference between any camera really. It would have been different if you shot with some clipping highlights and tried to recover in post, or conversely shot under-exposed and tried to push the footage in post. That is where 90% of the difference lies in my opinion.
 
Ok, here is the key video.
https://vimeo.com/60688446

My point of this video is that the current generation of low end cameras- FS100/700, BMCC, C300, F3 are all good enough for small screen narrative work. Some better than others, some approved by BBC some not, but the equation is about everything else around the little black box. Primarily it's about the crew. The locations. The talent. The lenses. The lighting. Not necessarily in that order, but all those items are more significant than the camera.

Having said that, I of course have my preference of cameras, and it starts with the Alexa. I am going to guess the F55 will be right up there, far above the Epic. Producers I've worked with have no desire to take on the data of the F65. It's not just about image quality, it's everything else. Reliability being top priority. And when the producer is willing to hire the Alexa package, you get other things without having to fight for them. The Epic is not all that bad, it just needs to be supported.

If anyone is interested in watching my preview for the series contact me direct: karlkimdp@gmail.com It's a private video, can't freely post it online.
 
OK - I did the test and then viewed the key (and had my partner here beside me to verify if I was cheating! :)

I was caught out by the second shot in... I thought you were being showy and giving a nice highlight rolloff on the FS100... gut said Epic, but I went against that :(

So, of the 14 I guessed 3 wrong (no 2 as I said plus had 12 & 13 reversed)... so 11 good calls and 3 bad.

But I do agree that for TV it really depends on budget and resources - and, of course (!) DP, Director and Producer preference... sometimes even commissioning preference.

Personally, I like the Epic, but with a good crew (there are too many inexperienced owner/operators out there that buy into Reds and call themselves DP's). I'm looking forward to seeing what the F5/F55 ends up producing. I'm not a fan of the Alexa or the Alexa look, but, honestly, a good grade(er) and well shot material always trumps the camera it's shot on.

Thanks for sharing :)
 
Good video once again. I was correct on the beauty shot! The "best" FS100 shot to me was on the guy on computer, well lit and good composition. I notice on more of the wider shots, the FS100 is a little more obvious over the EPIC. Somehow detail is not handled as well.

But honestly comparing for narrative type work, I think any camera as far back as PD150, VX2100 to the 7D or GH2 would be fine. It's not until you get into the crux of cinematic style productions and hardcore post-production where the true colors from the cameras you mentioned start to shine... or fail.
 
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