On Saturday I saw the results projected and not just projected but on an IMAX screen!
This film was never intended to be seen this size, we knew we were shooting for TV screens.
I was sitting in the front row, not by choice but I had to be there so that I could quickly take part in the Q&A afterwards.
So, did it work?
Well yes, no more soft shots than any other movie I’ve seen on the large screen recently. In other words not a lot at all.
The entire movie was shot either with autofocus and face recognition or controlled via a tablet with simple finger presses.
We learned how to quickly switch between modes while we were shooting and also what we could do during a shot.
The one thing we thought was missing that would have helped a lot was a couple of preset positions that we could load as escape positions. Preset so that if the face recognition lost track during a fast move towards camera we had emergency goto’s in the most important positions. Happily Canon have now added this facility.
I said at the time that I probably wouldn’t do a movie like this again, having looked at the results on an IMAX screen I now think that this is the future.
At present you are limited in your choice of lenses and camera. Canon are moving in this direction faster than others. I can see how they could, if they wanted, interface the /i info from say Cookes to the cameras internal software and an external focus motor and so enable this for any lenses with /i.
As we move to bigger and bigger sensors we need to look very closely at this kind of technology.
There are other solutions out there but they are all expensive and somewhat complicated.
This was very very simple, even a cinematographer could operate it!
I’d recommend that you view these on your smartphone, it’s only 10.5GB in all and each file is at least 50MB but hey! your smartphone will easily cope with that!
If you do that you’ll see that there is absolutely no reason to get one of these cameras, your DSLR is way better and your iPhone better still.
Actually, I’m thinking of doing a similar test with some DSLR’s, I’d rather eat my own leg but I feel I have to do it just to prove a point.
On the other hand, maybe I’m wrong, maybe a $2K camera is really as good as a $60K one. If you believe that I’ve got this bridge you may want to buy…
Oh and just in case… load these files into Resolve with it set to ACEScc and 4K DCI, then set the input to ACEScc and the output to 709, don’t crop the image, move around it using the positioning controls in color.
This will let you look at the full beauty, or horror, of each file.
Yes, they all pretty much capture it all, well, a couple of horrors at the top end but you’ll find those for yourself. Now, look at the lower exposures and ask yourself how much noise and colour shift you can live with. You now have the USABLE dynamic range. Strangely enough it’s not always what it appears to be or what manufacturers say it is.
Well, I’ve uploaded QT files of all the cameras in HD and all the ones shot RAW in UHD as well.
They can be downloaded in their full unaltered by Vimeo form as well.
So how are people viewing them?
So far 606 total idiots have viewed them on their smartphones!
Unsurprisingly the Ursa Mini-Pro and the Canon C200 are the most popular however they also have the highest number of not completed viewings.
People viewing the evaluations via CML watch the videos to the end and tend to watch them at higher resolutions and download the original files far more than people going in directly to Vimeo or via other sites.
Why start viewing a camera evaluation if you’re going to give up after the first few exposures? one camera I can understand, you didn’t realise what was involved but the same person doing this on camera after camera? what kind of person does this, certainly not anyone who knows anything about cinematography. Anyway, WTF are you doing viewing them on a smartphone?
I will still go ahead and upload some EXR’s for the people who understand what their doing, precious few though it is!
We are about to start a new round of camera evaluations using a new standardised system that will allow future tests of cameras in identical conditions.
The cameras included this time are:-
Arri Alexa Classic recording to both internal QT and external raw
Arri Alex Mini
Arri Alexa SXT recording to Codex
BMD Ursa Min Pro
Canon C300-2 recording to both XF-AVC and external raw
Canon C700 recording to both XF-AVC and Codex
Panasonic Varicam LT recording both internally and external raw
Panasonic Pure recording to Codex
RED Weapon Helium
Sony FS7 recording internally and external raw
We had hoped to include the Panavision Millennium and Alexa 65 but the first is in the process of being updated and the second is just too busy in the limited quantities that are available. Both are scheduled to be included in further evaluations later this year.
The Nokia OXO will also be included partly in the “normal” tests and partly to live stream the tests for those who have nothing better to do than watch live streams of camera tests!!
Lights are from BB&S and the lens being used for all except the C200 is the Fuji 4.7 * 18 T2. We will be marking up the in-shot idents with the focal length used to produce an image size that matches “S35” with 50mm as the base focal length.
With a schedule of 4 cameras per day we will be much more relaxed than in previous evaluations and paying a lot more attention to detail.
All camera settings will be published with the results We will also transcode all the rushes into 16 bit EXR files in ACES using the manufacturers software wherever possible. If there is no manufacturers software we will use Resolve. I will also be using Prelight onset to grab frames from the monitoring output of the cameras as part of a very different test 🙂
Results will be published towards the end of July.
Another movie with Dominic Brunt and he agreed to me using the Canon C300-2 with stills lenses for the entire film.
Although I had an AC he spent a lot of his time watching me try to focus pull using a Samsung Tablet!
I wanted to do it myself just to see how difficult it was and what the major pitfalls were.
It was a hell of a learning experience but I’d do it again, maybe with a few small changes like taking my own router just for the camera WiFi, using frequency scanners more often and killing anyone who decided to use any form of wireless transmission without clearing it with the camera crew first!
The main lesson is that the newer a lens is the better it copes, well that’s a shock!
Seriously, in a lot of situations the lens just couldn’t focus fast enough, actors running at camera in very low light was a serious issue.