Which is most cinematic? 5D, 60D, GH2, AF100 (Andrew Reid from eoshd)

RED makes some excellent equipment. Don't question that in the least. And I think you're right - the PMW-F3 will have to fight to compare, the rest simply can't.

There are some in the RED crowd who are very quick do dismiss all gear that isn't RAW or 4k.

Actually. It would be good if such a shootout also included the Alexa.
 
If we are talking about "film look" and "professional look"...I would say the AF100 gets pretty damn close with the right operator. Is it "better" than the Red One? No. The F3? Probably not. But after working with the camera daily for the past month and seeing work like "A Verse Before Dying" and Phillip Blooms latest music video, I find it irritating that some people continue to dismiss the AF100 as another DSLR.
 
TheReverend said:
Could be talking about the Zacuto camera shootout 2011? Set to release at NAB2011.
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I don't think so. The test Andrew Reid was referring in his piece will take place in Berlin, Germany. In relation with the forthcoming Zacuto test, well it would be nice if they try this time to make a less subjective test than the one they did in 2010. A test that beside showing the images side by side, they can show us some quantitative measurements. But I welcome the idea of the Zacuto camera shootout even though it can be executed in a much better way. I am looking forward to see one day a well executed, and hopefully pedagogical test, that will compare RED Epic, Alexa, RED One, Sony F3, and Panavision AF 100. Including DSLRs could be interesting to see how far are them from their big brothers.
 
The AF100 is an absolute step up from the DSLRs. I'd own one today if it weren't for the PMW-F3. It shrinks, but by comparison only. I'm very glad there is an "affordable" alternative to the DSLRS that have entered the market in the last couple years.
 
Andrew J. Allsbury said:
If we are talking about "film look" and "professional look"...I would say the AF100 gets pretty damn close with the right operator. Is it "better" than the Red One? No. The F3? Probably not. But after working with the camera daily for the past month and seeing work like "A Verse Before Dying" and Phillip Blooms latest music video, I find it irritating that some people continue to dismiss the AF100 as another DSLR.
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It is a huge improvement on DSLR's no question. It is a very practical cinema camera at a very good price if you put good glass on it. There needs to be a better selection of m4/3 cine grade electronic lenses for it at reasonable cost, but that will probably come in time. It is a great intermediate format between 2/3" and S35 for cinema production.
 
If they are going to use the f3 as a comparison to Red well they need to use its full potential - S Log.
 
Noel Evans said:
If they are going to use the f3 as a comparison to Red well they need to use its full potential - S Log.
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They also need to grade Red footage in the latest color science native raw work flows and not try to cram it through less capable video work flows like FCP.
 
I guess I'm a little annoyed by two things in the article.
First, he mentions specs that are only relevant in RAW stills mode.

Then he says "it is harder to get the same extreme shallow DOF which you can get on the 5D and even 60D", when, as has been pointed out repeatedly, extremely shallow DOF is not particularly "cinematic" since it's actually rare in cinema. Possible? Yes. Used in every shot of a film? Of course not.
Extremely shallow DOF is more "Canonmatic" or "DSLRmatic" than cinematic.


lexicon said:
Panavision AF 100.
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Good one! Freudian slip, or wishful thinking?! :happy:
 
I don't know about the AF100, but I can confirm that my GH2 has a much greener/colder look than 5d etc which I've used before. but it is easy to fix in camera, if you just manually white balance on the GH2 you can then adjust the white balance towards the opposite of green- magenta and the opposite of blue-yellow which means you can get it look warmer very easily. I would have to agree with Andrew Reid when it comes to selection of fast wide angle lenses. I mean you can stick a 24mm 1.4 lens on a 5d and get a very wide angle with f/1.4. There simply isn't a 12mm 1.4 lens for M4/3. And I don't want the 1.4 for shallow DOF but for light gathering characterstics in combination with the focal length which is better for handheld. but that's about it as far as 5d pros over the AF100/GH2 go. All the rest sways in favor of M4/3. As soon as you start going towards the normal range 50mm> equivalent lenses. M4/3 sensor size for me is much more cinematic and a better low light beast. shooting with a 50mm 1.8 lens on a 5d is not going to be fun/cinematic. Cinematographers rarely go below f/2.8 on S35 sensors so to get the equivalent DOF on the 5d you'd need to stop down the lens, So in that respect and for normal> lenses, I choose M4/3.
 
From that website
I have not tried the AF100 directly yet but since they use a very very similar sensor and the same CPU with quite a lot of the image pipeline shared I expect the AF100 to be similar and the sample footage certainly does seem to not render warm tones and skin as well as the 5D Mark II.
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What? The whole things alludes to what the AF100 actually does and then he says he hasnt used it? There is no green shift in the AF100 under a manual white balance. None at all. Sound like someones talking out of their you know what.

Also where is cinematography being discussed here? A camera will not make cinematic images.
 
groveChuck said:
Then he says "it is harder to get the same extreme shallow DOF which you can get on the 5D and even 60D", when, as has been pointed out repeatedly, extremely shallow DOF is not particularly "cinematic" since it's actually rare in cinema. Possible? Yes. Used in every shot of a film? Of course not.
Extremely shallow DOF is more "Canonmatic" or "DSLRmatic" than cinematic.
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+1000

After spending the last 2 months fighting with the extremely shallow DOF of a 5D for a feature-length narrative (it wasn't my choice, or I'd have been using the GH-13), I have come to the conclusion that I will use a 5D for video only if there is no other way to get the shot, or if something "House"-like comes along that demands that effect to tell the story.

Between pumping more light into the scene to allow me to stop down further than I ought to have to, and dealing with crap like setting critical focus and having the mirror flip back down at the worst possible time, fuzzy SD output from the HDMI port while recording, and an inability to use the same variety of lenses that I can put on the GH-13, there have been few happier days in my video production life than today, when we wrapped principal photography. - Tim
 
havent read anything on the website. i think im going to stick to my convictions and not read more crap from his website.
 
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