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Raw 5D Mark III vs Red Scarlet for 1080p delivery


Andrew Reid
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[media]http://vimeo.com/69803484[/media]

Red shooter Ryan Lightbourn has been combining the Red Scarlet-X and raw shooting 5D Mark III on the same production. His aerial shots reveal very little difference between the cameras but also some striking observations regarding the 5D Mark III's raw prowess.

[url=http://www.eoshd.com/content/10741/raw-5d-mark-iii-vs-red-scarlet-for-1080p-delivery]Read the full article here[/url]
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We can agree pretty much that the 5DIII produces the best (yes there's better but for sake of argument) picture for what is a steal of a bargain. I like seeing the ML RAW revolution as more a Cinema camera suddenly becoming affordable and can bring to you image quality that leaves nothing to be desired. As for the above comment, really the only reason for the 5DIII to fail in a "pro environment capable or not" argument is the rolling shutter, as sometimes it's totally negligible, but really stinks to have to consider that and keep action on the low. But otherwise why not take notice? The 5DIII is like what the original 5D was for photos, a 35mm sensor and affordable great image quality. The camera itself may not be great (for the 5DIII, not great for most video work) but you get image quality, and if you can at least get away from a shoot with a beautiful image and you didn't spend 10,000 extra for a "better" camera that's really on the same level with the picture, then who's the winner?

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...really the only reason for the 5DIII to fail in a "pro environment capable or not" argument is the rolling shutter...

 

The RED also has a rolling shutter, only a few cinema cameras have global shutters really.

Not that I'm saying it's no big deal though, I hate rolling shutter.

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I've had a lot of success using rolling shutter correction in premiere, you can do perfect swish pans. I've not battled rolling shutter extensively though,  what are the limitations for repairing RL on a pro shoot?

 

Rolling Shutter doesn't just affect pans, those are more easily corrected, but you can still have nasty problems if you have different depths, which will tilt in different amounts. The worse, however, is when going for an extreme handheld look, since you get the jello effect all over, and that's pretty bad.

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I can most definitely attest to the quality of the raw image acquisition. We just finished up a fashion film short based COMPLETELY off of the 50D's DNG RAW capture from Magic Lantern. Now the Directors I'm working with are super enthusiastic about Canon DSLR filming...just so long as CF cards are part of the budgetary plans :)

 

https://vimeo.com/69859027

 

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I know the 5d mk III gets credit for being the lowlight king,  But how would a 5d III raw w/ a samyang 35mm f.1.4 compare to a BMCC mft with a voigtlander 17.5 f.95?

 

It depends on the light you have available. Both would be good but the 5D Mark III would still have the upper hand if you needed ISO 3200 at F1.4 and ISO 1600 at F0.95 on the BMCC.

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I don't see why anyone would buy or rent a RED right now...sure they win this particular comparison but only by a nose. They desperately need the Dragon project to yield marketable results this year. Slicing their prices in half wasn't enough.

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I don't see why anyone would buy or rent a RED right now...sure they win this particular comparison but only by a nose. They desperately need the Dragon project to yield marketable results this year. Slicing their prices in half wasn't enough.

Horses for courses, as Bloom would say.

The Red still has the 4k and beyond resolution advantage and still rules in framerate variety. They're different conversations in features even they don't remain so in visual quality any longer. Canon raw doesn't suddenly rule out any use of the Red camera just because one is more accessible to you than the other.

 

Seriously.

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Horses for courses, as Bloom would say.

The Red still has the 4k and beyond resolution advantage and still rules in framerate variety. They're different conversations in features even they don't remain so in visual quality any longer. Canon raw doesn't suddenly rule out any use of the Red camera just because one is more accessible to you than the other.

 

Seriously.

 

I don't view DSLRs as RED competitors (even the 5D3 RAW hack, which embarrasses them to an extent in this example). I'm talking about cinema cameras (not usually covered on this blog other than arguments they aren't worth buying) competing with them. In the last Zacuto shootout the RED was already bleeding (Jannard had veins bursting out of his forehead over it all). Since then there are half a dozen new choices that make both Scarlet and Epic seem long in the tooth and suffering from an overpriced ecosystem. RED's strength was always it was the tech leader within its price range and it no longer has any claim on that at all. Dragon can restore that if it really is 20 stops of DR at 6K global shutter with a reliable production-ready implementation...

 

And the competition is getting hotter...

http://www.hollywoodreporter.com/behind-screen/arris-managing-director-hd-is-578724

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Rolling Shutter doesn't just affect pans, those are more easily corrected, but you can still have nasty problems if you have different depths, which will tilt in different amounts. The worse, however, is when going for an extreme handheld look, since you get the jello effect all over, and that's pretty bad.

My problem with RL, a down-the-street cityscape becomes a whirl pool with physical movement of the camera, trying to fix that is like... well, replace it all with CG?
And I wasn't aware that RED still had RL sensors as well... though it should make sense as it was a big deal for Sony's next cinema camera to have a global shutter, and an even bigger deal for the BMD 4K camera to have it as well, maybe I was thinking they still used CCD.

And alas the lack of versatility in frame rates is still an issue as well, but what's still great is that the 5DIII is a compact and affordable piece of gear capable of beautiful RAW footage. Maybe not as a main camera, but B roll or crash it will definitely mix well with what's out there.

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  • 2 weeks later...

[media]http://vimeo.com/69803484[/media]

Red shooter Ryan Lightbourn has been combining the Red Scarlet-X and raw shooting 5D Mark III on the same production. His aerial shots reveal very little difference between the cameras but also some striking observations regarding the 5D Mark III's raw prowess.

Read the full article here

You know better than to post incomparble clips. Side Bu Side Man. SIDE BY SIDE. Thank You.

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