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1DX II, A7S II, C300 II - Compared Side-by-Side


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Guest Ebrahim Saadawi

For the cheapest full frame aesthetic 4K image the A7s is the one. It can make some pretty damn clean, highly detailed images with little to no artefacts, just don't push it beyond its limits and know you'll spend more time getting skin to look good vs a Canon or a Panasonic. I found SLOG3 to have insane banding, just not designed for 8bit. Shoot in Cine2/4 modes which are flatish with decent DR (11ish) and S-Log 2 for scenes demanding the higher DR. But I found using S-Log 2 for the images that don't need or have high dynamic range, really harms the image vs using a normal profile. 

If 4K isn't a necessity, a very very cool package is an A6000 + EF Speedbooster XL. The 1080p quality is very very good and givea you the full frame look.

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3 hours ago, Ebrahim Saadawi said:

For the cheapest full frame aesthetic 4K image the A7s is the one. It can make some pretty damn clean, highly detailed images with little to no artefacts, just don't push it beyond its limits and know you'll spend more time getting skin to look good vs a Canon or a Panasonic. I found SLOG3 to have insane banding, just not designed for 8bit. Shoot in Cine2/4 modes which are flatish with decent DR (11ish) and S-Log 2 for scenes demanding the higher DR. But I found using S-Log 2 for the images that don't need or have high dynamic range, really harms the image vs using a normal profile. 

If 4K isn't a necessity, a very very cool package is an A6000 + EF Speedbooster XL. The 1080p quality is very very good and givea you the full frame look.

Thanks for the info ! Looks like i'll be sticking with cine4 if I pick up the camera. 4k is very important to me so the bitrate was my main concern, thanks for clearing that up for me !

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The nice thing about Cine 4 is base ISO is so much lower and you don't have to deal with some of the other issues slog brings to the mix. Even though I shoot a lot of high contrast stuff since I'm always in the sun, its such a PITA to get so heavy handed with the ND's since that creates other issues with regards to color for me - so I never shoot slog with the A7s or A7rII. But I'm not an expert with color correction either, I make minor adjustments and use LUT's for a look with the basic color correctors in Premiere and FCP. I don't do Resolve.

Samuel H. has a lot of good technical info with color charts. http://www.similaar.com/foto/flaat-a7s/technical-tests.html#waveform

Wolfcrow is another great resource, though he's so in depth much of his stuff is over my head.

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Guest Ebrahim Saadawi

I don't really agree at all with DVX Mccregor DR findings (great man though, taught us a lot, especially on old Sony technology of f35 and nx1) 

His tests see 12 stops of DR in both S-Log2 and Cine4, identical. This is DEFINITELY not the case here. 

When I switch to Slog from cine 4 profile and compensate with NDs/shutter to get the same exposure, S-Log 1 m2 shows a lot, at least more than a full stop highlight DR retention, plus the shadows are quite clean especially after denoising, at 1600 ISO. Definitely more dynamic range for scenes that demand it. In Cine 4 and PP OFF I find the DR to be regular, very acceptable for all applications, about the same window as a canon/nikon/Panasonic SLR we're used to, and with S-log 2, it's pumped up 1+ stops, at the expence of much harder grading and very hard to nail skin, plus some horrid banding in S-log 3... So use sparingly. Remember to ETTE (Almost to the point of over exposure on the a7 Slog as this gives the most DR)

@OP I am told by Canon the higher DR of the new sensor is present in video mode, but I don't believe it. So any DR test would be reaally handy for the 1DX. Is it the same DR as all the others becauae of the way the Picture styles are made or is it more? Canon went as far as saying it's similar to C-Log on the 1DC in terms of highlight and shadow retention, which I am not finding at all in the footage. It look 5D/7D DR and colour science at high res. (Which is great) 

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22 hours ago, Ebrahim Saadawi said:

I don't really agree at all with DVX Mccregor DR findings (great man though, taught us a lot, especially on old Sony technology of f35 and nx1) 

His tests see 12 stops of DR in both S-Log2 and Cine4, identical. This is DEFINITELY not the case here. 

When I switch to Slog from cine 4 profile and compensate with NDs/shutter to get the same exposure, S-Log 1 m2 shows a lot, at least more than a full stop highlight DR retention, plus the shadows are quite clean especially after denoising, at 1600 ISO. Definitely more dynamic range for scenes that demand it. In Cine 4 and PP OFF I find the DR to be regular

Remember that Cine4 will show CLIPPED highlights (because they go into the superwhites) unless you bring them down with for example, the procamp tool in Premiere. The display ALSO shows those highlights clipped in CINE4 (which is stupid)

So make sure you are actually comparing the full output (CINE4 goes all the way to 255, slog2 only to 235)

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Could anybody who has 1dxII share couple seconds original file straight from the card (dropbox or something) -
 some high DOF with details like out-of-the-window view:

-1080p h264 24 or 25 fps

- the same view 1080p 120fps

-the same view 4k dci 25fps

The camera is couple of days here and we still lack original files for download, only YT/vimeo compressed samples.

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Guest Ebrahim Saadawi
19 hours ago, kgv5 said:

Could anybody who has 1dxII share couple seconds original file straight from the card (dropbox or something) -
 some high DOF with details like out-of-the-window view:

-1080p h264 24 or 25 fps

- the same view 1080p 120fps

-the same view 4k dci 25fps

The camera is couple of days here and we still lack original files for download, only YT/vimeo compressed samples.

would be super helpful!

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