Canon 1D C vs 5D Mark III Raw (and C300 / GH2 resolution comparison)

Wednesday, 22 May, 2013 19:17

5d3raw-vs-1dc

This test was conducted jointly with my good friend and neighbour Rudi at Slashcam – you can read his take on it in German / in English.

In the battle of the 1080p cameras, the game has changed. Here’s how the 5D Mark III in raw recording mode compares to the best 1080p output from the Canon C300 and 1D C.

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2.5k CinemaScope anamorphic raw on the 5D Mark III

Monday, 20 May, 2013 20:33

Get the EOSHD Anamorphic Shooter’s Guide for a comprehensive guide to anamorphic lenses, which ones to use, how to get them and how to shoot

Download the 2.5k 2560×1280 Vimeo file and playback on a 2.5K or 4K display for best results

Download a pack of DNG frames from the original raw files to judge quality

The spec sheet is impressive. 14bit linear bayer raw is sub-sampled from a 6K sensor, giving 1280 lines of extremely clean resolution with an anamorphic compliant 4:3 aspect ratio.

This is in a similar league to the image quality of the Sony F35 (Superman Returns, Tim Burton’s Alice In Wonderland) which cost $250,000 just 5 years ago.

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A look at raw video on the Canon 600D

Saturday, 18 May, 2013 15:59

Download the sample DNG frames from continuous raw video on the 600D

Though most of the development at Magic Lantern has been focussed on the powerful 5D Mark III, the latest firmware builds have also been ported to the 600D. How does it perform for raw video?

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Low light test of 5D Mark III raw vs H.264

Wednesday, 15 May, 2013 03:35

The 5D Mark III is already a very capable low light camera. In its factory guise whilst not quite as clean as the Canon C300 or Sony FS100, it is the best DSLR for low light shooting (though the Nikon D5200 puts up a good fight).

But that was before the latest developments with ML Raw.

Has low light improved even further?

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3.5k Canon 5D Mark III raw video with Magic Lantern and latest updates

Wednesday, 01 May, 2013 23:52

These past days I’ve been trying to make myself useful to Alex at Magic Lantern, testing the DNG raw video recording on the 5D Mark III with a nightly build of Magic Lantern.

Here’s what the video quality looks like in the DNG video modes at 30fps.

Click the image below to expand…

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Canon 5D Mark III uncompressed HDMI sample footage

Friday, 26 April, 2013 22:07

Is it any better? Rather than spoil the surprise please do go ahead and watch the short test video. You can download the original file at Vimeo here.

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Radioactivity – my 400fps shoot with the Nikon V1

Wednesday, 20 March, 2013 00:02

The Nikon V1 is a $300 camera – buy it now on eBay

High speed shooting hasn’t been possible on DSLRs until now. Again it is the much dismissed Nikon V1 providing the creative inspiration…

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New Leica M with 1080p out in the wild – and first look at video quality

Saturday, 09 March, 2013 20:26

Catch the EOSHD interview with Leica’s Jesko von Oeynhausenand and hands-on with the Leica M type 240 here

The new Leica M (dubbed type 240) has a CMOSIS full frame sensor, and a first for a Leica camera – video. Not since the Leicina 8mm camera (EOSHD article) has a Leica product been viable for cinema.

The Leica M of course is primarily a photography tool, but it is interesting to see if Leica have taken the same no-compromise approach to image quality in video mode as they have always done with stills.

Furthermore Leica are a company with no high end cinema camera range or video camera market share to protect from themselves (yes – never did make sense that did it?)

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Ikonoskop A-cam dll versus Blackmagic Cinema Camera

Friday, 08 March, 2013 19:05

Back in November I tested the Ikonoskop A-cam dll with Rob of Slashcam.de and Ludwig Reuter of HD Video Shop here in Berlin.

We spent a few hours comparing it to the Blackmagic Cinema Camera – here’s how it turned out.

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ProRes vs ProRes – A first look at uncompressed HDMI with the Nikon D5200 vs the Blackmagic Cinema Camera

Sunday, 24 February, 2013 19:49

In the early days of DSLR video the codec was probably the weakest part of the camera. With the advent of uncompressed HDMI out – the codec is no longer a weak point but sensor sampling becomes an Achilles Heel.

Can the Nikon D5200 benefit from a hike in image quality from using an external recorder?

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Nikon D5200 review

Sunday, 17 February, 2013 18:42

UPDATE: The HDMI output on this camera is uncompressed 4:2:2, for a leap in image quality over the internal 24Mbit codec! Check the forum for my ProRes noise grain sample shots

The Nikon D5200 is the best mid-range Nikon yet for video. What is more of a surprise is the relish in which it takes on the much more expensive 5D Mark III, Panasonic GH3 and Nikon’s own flagship the D800 and D4.

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Shooting guerrilla style in Berlin with Iscorama 54 and Blackmagic Cinema Camera

Thursday, 14 February, 2013 16:35

The Lens

Whilst Canon L lenses are like a fleet of company Lexus cars. This isn’t really what I want in my films. I need something different. Something with character.

For this reason I’ve long been using anamorphic lenses. I recently shot some test footage with the Iscorama 54 anamorphic. This is essentially an Iscorama 36 but instead of a 36mm rear element it is 54mm. Even though the whole lens is double the weight, not as sharp and almost triple the size I like it because it has character.

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RED Epic versus Blackmagic Cinema Camera – Part 2 – Resolution and conclusion

Tuesday, 12 February, 2013 13:11

Above: the Epic with anamorphic lens

In the second and final part of this mini-shootout with the Epic and Blackmagic Cinema Camera, we take a look at the resolution chart.

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RED Epic versus Blackmagic Cinema Camera – Part 1 – Grain, workflow and form factor

Friday, 08 February, 2013 18:17

How does the Blackmagic Cinema Camera compare to an established film industry standard, the Red Epic?

Along with ReWo and MBF Filmtechnik in Berlin we decided to find out.

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Sony FS700 slow mo goes low light with Speed Booster and the new SLR Magic T0.95 lenses

Thursday, 24 January, 2013 04:12

Please email SLR Magic here to order their new lenses

I’ve had a FS700 for a few days and tonight myself and Rudi of Slashcam.de got out and gave it a test run in Berlin. We only shot for 2 or 3 hours and after editing the test I had a lot of ideas for slow-mo shots that would have worked with the song – slow-mo is actually a great creative tool, not a gimmick. Had we the FS700 for longer then I think I could run with this theme of rushing commuters set to the David Bowie song Move On, which pokes a little fun at wanderlust.

Alas slow-mo is the FS700′s best feature. I consider the ND as a bit of a clumsy bolt on, the Sony F5 does it much better. I will consider the 4K output when I see it. Until then this is a 1080p camera.

I’ve also been shooting with the new SLR Magic 35mm T0.95 (Leica M / E-mount) and 25mm T0.95 (Micro Four Thirds / Blackmagic Cinema Camera MFT). Shooting slow mo in low light, you need them.

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Prototype Metabones Speed Booster equipped NEX 7 VS full frame 5D Mark III – 1st comparison shots

Tuesday, 15 January, 2013 02:47

Speed Booster at 35mm F1.0 on the Sony NEX 7

With the Metabones Speed Booster APS-C and Super 35mm sized sensors have taken a barrelling charge up to the door of full frame.

Does it blow the doors off?

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A look at the new GoPro Hero 3 iPhone app – iPhone as wireless monitor and remote control

Monday, 17 December, 2012 00:06

I recently picked up the Hero 3 Black Edition. It’s a great overall point-of-view camera not just a favourite of sports shooters. The size of a matchbox and it does 2.7K and 4K video all at a pretty high bitrate of around 45Mbit.

Since a couple of days ago (Dec 14th) it has a new firmware update and iPhone app which gives you smooth wireless 24fps monitoring on the iPhone so I thought I’d give it a try.

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Canon C500 beaten? Arri Alexa challenged? Sony F5 and F55 shooting reports by Jon Fauer ASC and official pricing

Thursday, 29 November, 2012 06:23

Jon Fauer ASC has put together a 96 page report on the Sony F5 and F55.

Along with what we now know here is my analysis of the Sony F5, F55 and that other competitor – the Canon C500.

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LOMO anamorphic goes Super 35mm – my music video shot on the FS100

Tuesday, 27 November, 2012 07:08

Get Dreamleaver by Herdwhite on iTunes

Embedded video not showing? Click here to view or download on Vimeo

A big thanks to Ciecio7 for donating his superb OCT19 to E-Mount lens adapter for this shoot. This is available on eBay.

We shot this with the young German movie actress Lili Zahavi (IMDB) and theatre actor Niklas Brubach. A big thanks to both of them for their performances. This is a music video for my fellow friend from Manchester “Herdwhite” whose track Dreamleaver was recorded here in Berlin.

The Sony FS100 has a nice image but it isn’t as organic as the Blackmagic Cinema Camera. To make it more organic you use organic lenses. Actually as Herdwhite would tell you it is the same with music. You can use a drum sample – but it is not as organic as a real drummer. Anamorphic gives you instant production value if used well.

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Ikonoskop A-Cam dll vs Blackmagic Cinema Camera – first impressions

Friday, 23 November, 2012 17:29

The Ikonoskop A-Cam is a 12bit uncompressed raw digital cinema camera that shoots in Cinema DNG format, much like the Blackmagic Cinema Camera.

In many ways though this is a different animal.

The Ikonoskop addresses some of what the Blackmagic Cinema Camera lacks in that it features a global shutter (it uses a CCD sensor rather than CMOS) and uses interchangeable Sony batteries (NP-F770, the same ones the FS100 uses). The only other digital cinema camera currently to feature a global shutter is the Sony F55 (likely over $25,000 when it hits the market). The Ikonoskop is 7700 Euros.

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Category: Tests

Canon 1D C vs 5D Mark III Raw (and C300 / GH2 resolution comparison)

2.5k CinemaScope anamorphic raw on the 5D Mark III

A look at raw video on the Canon 600D

Low light test of 5D Mark III raw vs H.264

3.5k Canon 5D Mark III raw video with Magic Lantern and latest updates

Canon 5D Mark III uncompressed HDMI sample footage

Radioactivity – my 400fps shoot with the Nikon V1

New Leica M with 1080p out in the wild – and first look at video quality

Ikonoskop A-cam dll versus Blackmagic Cinema Camera

ProRes vs ProRes – A first look at uncompressed HDMI with the Nikon D5200 vs the Blackmagic Cinema Camera

Nikon D5200 review

Shooting guerrilla style in Berlin with Iscorama 54 and Blackmagic Cinema Camera

RED Epic versus Blackmagic Cinema Camera – Part 2 – Resolution and conclusion

RED Epic versus Blackmagic Cinema Camera – Part 1 – Grain, workflow and form factor

Sony FS700 slow mo goes low light with Speed Booster and the new SLR Magic T0.95 lenses

Prototype Metabones Speed Booster equipped NEX 7 VS full frame 5D Mark III – 1st comparison shots

A look at the new GoPro Hero 3 iPhone app – iPhone as wireless monitor and remote control

Canon C500 beaten? Arri Alexa challenged? Sony F5 and F55 shooting reports by Jon Fauer ASC and official pricing

LOMO anamorphic goes Super 35mm – my music video shot on the FS100

Ikonoskop A-Cam dll vs Blackmagic Cinema Camera – first impressions

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