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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Red One Canon 5D Video Test

Canon L 24-105mm f/4. AFAIK the Sigma is not full frame.
 
Indeed. BTW, a Canon L lens class is, well, a L lens class :-) optically and mechanically. PM sent as requested. Check your PM box. Hope it helps.
 
Andrew Walker said:
That was a sweet little clip Matt. Makes me want to get the camera even more mainly because I could grab some motion when I don't want to set my Red up. But still I want to mainly use it as a timelapse camera just as I have been doing with my 40D. Plus I don't think Getty would take video stock footage shot with the 5D2. But they will take timelapse shot with it.
Click to expand...

I'm pretty sure Getty is taking 5D2 1080 HD video clips. I'm not talking timelapse, I'm talking video. I think 5D2 clips are on a "shot by shot" basis with Getty, but then again, all shots are that way really. They have to pass editorial review. Sometimes the 30p 5D2 clips look nice transcoded to 24p, to play slightly slo-mo. So I guess you can submit at 30p or 24p, depending on the clip.
 
Yes same exact clip. Although now a much higher bitrate and 1080P file for you guys to download.
 
I'm compressing another test clip. It's 5 more quick setups. This time I dialed the Canon in a little better and kept the kelvin at 5000 for both cameras.

Off the cuff evaluation at this point is that Red is superior when you feed it light. By far the cleanest, highest dynamic range picture with a 'thick' negative feel to it. Duh... That's obvious though.. Canon trumps the Red in low light, no doubt. The results were pretty outstanding when I pushed both cameras as far as they could go using the Nikon 17-35 f/2.8 lens. I would really love it if Red can match or sprint pass the low light Canon with the Epic/Scarlet because the night performance on the 5D is just amazing.
 
Richard Darge said:
The results were pretty outstanding when I pushed both cameras as far as they could go using the Nikon 17-35 f/2.8 lens.

I would really love it if Red can match or sprint pass the low light Canon with the Epic/Scarlet because the night performance on the 5D is just amazing.
Click to expand...

Richard,

obviously you never "crossed" a border between f/1.4 and f/1.2 or f/0.95 on RED1.

Further "the night performance on the 5D is just amazing" is just a fake statement based

on "crippled" HD video suitable only for web application that you can get out of it.

DSLRs like 5DM2 or DX3 have "outstanding" night performance just because of "boosting" higher ISO

that's not possible with moving images that are bigger then HD.

Just have a look more carefully at 4K night shots by 5DM2 and see all those artifacts.

That's why exist the super-fast lenses like a Master Primes that you wouldn't need higher ISO (with all those artifacts)

on digital or you would need appropriate film stock with analog acquisition.

5DM2 is a perfect camera for so called video "advanced" tourists but right now there is even better camera available for that sort of shooters:

Panasonic GH1 that can get PL mount and Master Primes.

Have a look:

still4-1024x576.jpg

Shot on Panasonic GH1 with Zeiss Master Prime 85mm (click here to get a lager size)

still5-1024x576.jpg

Shot on Panasonic GH1 with Zeiss Master Prime 85mm (click here to get a lager size)

More>>
 
Sanjin Jukic said:
Further "the night performance on the 5D is just amazing" is just a fake statement based

on "crippled" HD video suitable only for web application that you can get out of it.
Click to expand...

How is my comment 'fake'? I use both cameras. I own both. They both have different purposes. One is clearly A LOT brighter in the dark than the other. There's nothing fake about that. :couch:
 
Richard,

sorry and maybe "fake" was a hard word that also cannot explain what I wanted to say.

Simply it's about a "bluff"!

Take a simple logic:

If Canon 5Dm2 would make "usable" video at higher ISO then Canon will for sure jump in a business

of making "digital cinema cameras" for Hollywood and "kill" all the competition in a digital even at analog (film) acquisition.

After that scenario nobody would need super-fast lenses like a Master Primes.

That's sort of future still does not exist.

And that why is Canon 5Dm2 with enabled HD video a DSLR for sort of "advanced-video-tourist" shooting only.

BTW, Canon 5DM2 is an excellent digital photo camera that with additional little HD video "bluff" is probably selling pretty good and can stay in a competition with other DSLRs of that type.

That's all.

It cannot compare with RAW moving images in a low/available light when you bring Leica Noctilux-M f/0.95 type of super-fast lenses to RED1.
 
Hahaha. Sanjin ¥ou're crazy but I love you man. I'm just basing this off of what my eyeballs see and so far, the 5D looks a lot better in low light when compared to Red using the same 17mm f/2.8 Nikkor zoom lens. I'm all about Superspeeds on Red for low light. That's why I bought a set of those Canon K-35s for that very reason. I can never go back to shooting T3 on the Red at night with very little light. Too ugly.
 
Kenneth Elkington said:
I think he's just comparing it to the convenience of old 8mm cameras.
Click to expand...

Yes that is what I was comparing it to. I know resolution wise it is better looking than 8mm film any day of the week. But it seems with the choice of lenses to use on the camera and the look, its very similar to the old film cameras that families would have with them. Its nice to see good quality images for almost everyone.

Tom said:
I'm pretty sure Getty is taking 5D2 1080 HD video clips. I'm not talking timelapse, I'm talking video. I think 5D2 clips are on a "shot by shot" basis with Getty, but then again, all shots are that way really. They have to pass editorial review. Sometimes the 30p 5D2 clips look nice transcoded to 24p, to play slightly slo-mo. So I guess you can submit at 30p or 24p, depending on the clip.
Click to expand...

Your right Tom, I was just saying based on the compression of the clips and the baked in look it might be a little harder to get it by their QC department. I'm sure if you have something that is very marketable that they would want it. But its not going to be like Red footage...at least I don't think so because the whole digital negative aspect of the R3D file doesn't exist with the 5D2 footage.

Richard, the other thing I liked about these tests you did was to see the difference in the coverage between a Super 35 frame and a FF35 frame using still glass. Kind of a good reference to have when thinking about going up to the FF35 Epic.
 
Video disabled for the moment. (165MB - 960x540 h264)

Ok. Sleep time. I just started the upload for my quick&dirty ROUND 2 tests. It should be up there 40 minutes from the time of this posting.

Red was shot on the Red-raid again, 4k 16x9 RC28. Redspace Gamma and Color. No S curves. 5000k for every shot. 1/60 for all but the last 2 shots. Sat/Contrast were not touched. Rendered out of Color again.

Canon was kept at 5000k for every shot. (5000k on a Canon is noticeable warmer when compared to Red's 5000k setting) Picture setting was set to FAITHFUL this time. Sharpness turned down to ZERO. Saturation and Contrast were dialed down to -4. Color tone was at ZERO.

Just used the Nikon 17-35 f/2.8 lens. Kept it at 17mm for both cameras and all shots this time. Fully open for every single shot.

Enjoy.
 
Pawel Junak said:
recently I found this:
http://vimeo.com/5000009

I'm not saying that everything is possible on canon, but for sure it's more than "advanced-video-tourist shooting only"
Click to expand...

To repeat again that Canon 5DMk2 is quite good photo camera for web video compression apps (web commercials, touristic, wedding video, etc...) but not for serious HD application, feature or so...
 
Sanjin Jukic said:
To repeat again that Canon 5DMk2 is quite good photo camera for web video compression apps (web commercials, touristic, wedding video, etc...) but not for serious HD application, feature or so...
Click to expand...

Says you.

I guess that's why Rodney Charters, the DP for the tv series "24", used a total of FIVE, 5D mkII's on the set of the new CBS pilot, "Washington Field".

He must not be serious.
 
Sanjin Jukic said:
To repeat again that Canon 5DMk2 is quite good photo camera for web video compression apps (web commercials, touristic, wedding video, etc...) but not for serious HD application, feature or so...
Click to expand...

There are many who insist that the 5D Mark II video and codec is better than the EX1/EX3 and the HPX300. I'm not convinced myself, but at 42Mbps I have a hard time remaining skeptical. Are they all only good for "sophisticated home videos" and web commercials?

You also leave out the fact that the 5D has already been used in theatrical feature films. Not to mention major commercials, TV shows, music videos, documentaries, etc...
 
Matt Gottshalk said:
Says you.

I guess that's why Rodney Charters, the DP for the tv series "24", used a total of FIVE, 5D mkII's on the set of the new CBS pilot, "Washington Field".

He must not be serious.
Click to expand...

I'd like to know how he controls the moire / aliasing the 5Dii it's so fond in producing (eg : visible in the Richard MOV download on the Fu's Palace scene and the overhead electrical wires). Perhaps he keeps all potential bad subject matter out of focus ;-)

As for the baked in 5Dii 'look', there are plenty of pf2 files on the net to help control the hard blacks the 5Dii defaults to. NeatVideo seems to do a pretty good job of cleaning up the compression artifacts.

Biggest issue I have with the 5Dii files is the aliasing/moire ... if the shot is locked off there is always the option of blending in a high-res still ;-)

Does anybody have any links to full res GH1 files ... I'm curious to see if this cam produces moire like the 5Dii or is it better behaved ?
 
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