Thread: 8k r3d 5:1- 6 STOP UNDER AND OVER EXPOSE TEST

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  1. #41  
    Quote Originally Posted by Aris_Gavriilidis View Post
    If nothing else, after the leap from MX to Dragon, RED has consistently produced sensors with the ability to dig ever further down into the shadows, with only marginal (if any, in Helium's case) improvements on the high end. From what I've seen I'm almost certain Monstro has no advantage in highlight retention over my good ol' Epic Dragon. For their next sensor, RED should take a page out of Sony's book, their Venice outperforms both Monstro and Alev III in the highlights while keeping phenomenally clean blacks, without even getting to the amazing color science of that camera!
    Have you personally tested SONY Venice camera on a calibrated professional reference monitor? And have you performed a comparison test with Venice, Monstro and 'Alev III' sensors on three identically calibrated and matched reference monitors side-by-side? I'm sure the answer is a solid "NO". Therefore, your comment on "Venice outperforms both Monstro and Alev III in the highlights while keeping phenomenally clean blacks" is rather overrated.
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  2. #42  
    Senior Member Aris_Gavriilidis's Avatar
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    Quote Originally Posted by Hrvoje Simic View Post
    Can you point to the examples leading to that conclusion ?
    Yup, sure thing, here's a test Geoff Boyle performed, pause at the 1st second and see for yourself, (Venice at T2-2.8), the Venice maintains color and separation at the High Saturation Color Reference Chart's second to last row, whereas both Alexa Mini and Monstro are barely holding on. Also note how the Monstro is actually exposed at T4-5.6 and it's still a bit behind. Small difference but it's there. I think that's pretty remarkable performance on Sony's end.

    https://vimeo.com/283339506

    Shadows on the other hand are clearly Monstro territory so it's a camera that needs to be rated differently to Venice for similar results. I just thought to bring up the whole highlight comparison thing to point out how not having to rate a camera at 1600 for awesome highlight retention is a significant advancement in sensor tech and perhaps more manufacturers should follow that example.
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  3. #43  
    Senior Member Aris_Gavriilidis's Avatar
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    Quote Originally Posted by Neil Abeynayake View Post
    Have you personally tested SONY Venice camera on a calibrated professional reference monitor? And have you performed a comparison test with Venice, Monstro and 'Alev III' sensors on three identically calibrated and matched reference monitors side-by-side? I'm sure the answer is a solid "NO". Therefore, your comment on "Venice outperforms both Monstro and Alev III in the highlights while keeping phenomenally clean blacks" is rather overrated.
    There are no Monstro's or Venice's here in Greece yet - and probably won't be for a good while, the film industry is pretty nonexistent here sadly - at the moment aside from one Alexa LF, a few Alexa Classic and Mini's and a good number of Epic Dragons and I believe a Helium too, there aren't any other high-end options in rental houses. I'd absolutely love to get my hands on those new large format cameras and shoot things beyond tests!
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  4. #44  
    Quote Originally Posted by Aris_Gavriilidis View Post
    Yup, sure thing, here's a test Geoff Boyle performed, pause at the 1st second and see for yourself, (Venice at T2-2.8), the Venice maintains color and separation at the High Saturation Color Reference Chart's second to last row, whereas both Alexa Mini and Monstro are barely holding on.

    https://vimeo.com/283339506

    Let's try that again.


    Alexa/Venice





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  5. #45  
    Senior Member Patrick Tresch's Avatar
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    Quote Originally Posted by Hrvoje Simic View Post
    Let's try that again.
    And in low light?
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  6. #46  
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    Hrvoje, is this shot at the same T-stop? To me, the Venice sample looks exposed a stop higher or something.
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  7. #47  
    [QUOTE=Aris_Gavriilidis;1860286]Yup, sure thing, here's a test Geoff Boyle performed, pause at the 1st second and see for yourself, (Venice at T2-2.8), the Venice maintains color and separation at the High Saturation Color Reference Chart's second to last row, whereas both Alexa Mini and Monstro are barely holding on. Also note how the Monstro is actually exposed at T4-5.6 and it's still a bit behind. Small difference but it's there. I think that's pretty remarkable performance on Sony's end.

    https://vimeo.com/283339506

    You might want to look at this test as it shows something quite different:
    https://vimeo.com/showcase/5957128/video/333200960
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  8. #48  
    Quote Originally Posted by Šabović Adis View Post
    Hrvoje, is this shot at the same T-stop? To me, the Venice sample looks exposed a stop higher or something.
    T2, ISO500 both.

    Differences: sensor, signal processing, log. :)

    Exposure compensation on Venice would not give the same image feel.
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  9. #49  
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    Quote Originally Posted by Hrvoje Simic View Post
    T2, ISO500 both.

    Differences: sensor, signal processing, log. :)
    Hm..
    And when transformed to 709, are there significant differences in overall brightness?
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  10. #50  
    Quote Originally Posted by Šabović Adis View Post
    Hm..
    And when transformed to 709, are there significant differences in overall brightness?
    When transformed to 709 you are looking at properties of transformation too. :)

    Overall brightness impression is mostly due to log differences, but that is just a part.
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