Revenge of the shootout FS100 - my gripe!

paulcurtis said:
I don't understand why the room couldn't have been lit once and then all the cameras shoot that with a grade afterwards. Or have one single DP and then operators for each of the cameras, so the DP can do their best each time to achieve the same look. cheers, paul
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Well said, Paul.

There were too many subjective variables in this test. In reality, I want to see slightly blown our exteriors, some mystery in the shadows but detail in the main actors. I don't want to be distracted by detail in the supporting cast and every corner of the room.

One DP would have evened the playing field.

Biggest surprise? That damn iPhone!

Regards,
Scott
 
Well, the comment on my blog is, "If nothing else, the hardware is so accessible it really comes down to the hands the tools are placed in."
 
To be fair, with the FS100, you've got a $5k camera going up against cameras where the next tier up is 3x the price, and the top tier is 15x the price. It SHOULD have one of the least impressive images. That doesn't mean it puts out a bad image, it means it's beaten out by cameras that far outclass it (in price, performance and specification). There's no shame in that, there's nothing to get irate about - it's just the way it is.

And before it's mentioned - the GH2 isn't a fair comparison anyway, its software has been hacked in order to for the hardware to run at levels well beyond spec. And the fact that people have managed to hack it make it somewhat of an enigma anyway.
 
Every time you desaturate or boost the lows on a H.264 or MPEG cam you are baking less colour and more noise into your footage
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This is spot on!! I couldn't agree more. I have done extensive testing on this, especially with the gh2. Heck I have even done experiments on xha1 m2t files and have come to the same conclusion. If the information is not there, welll... it's not there. I find I can get the image to hold up much better with more baked in saturation, I still try to keep the contrast in the middle range, but yeah, it's not raw, and even when you convert to cineform 4:2:2, it makes no difference from what I can see. Maybe I'm not doing something, or maybe there's ways to get more out of a flat profile on avchd, h264, or m2t files, I just haven't found a way in the years I have been working with these file types.
 
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