The third and final episode of The Great Camera Shootout 2011
On September 27th, 2011 The Great Camera Shootout 2011 was nominated for two Emmy awards (Midwest Chapter). One nomination was for Outstanding Achievement in Informational Programming and the other was for Zacuto Senior Editor Karen Abad’s, skillful editing work.
Episode 3, It’s Not So Black & White, completes the three part Great Camera Shootout 2011 series but also has an unexpected announcement. In this episode, the cameras are tested on motion artifacts, color and skin tone. The tests were administered by Robert Primes, ASC and conducted as an unbiased test through the SCCE (Single Chip Camera Evaluation). Some updates to certain cameras such as “S Log” on the Sony F3 and “CineStyle” for the Canon cameras were not available at the time of these tests.
We’re going to show you what you can do with each of these cameras on the same set by letting expert DPs who’ve mastered these cameras get creative with them. They’ve figured out the best profiles, they know how to light for their camera while keeping color timing in mind. This shootout is about two things- what a camera is capable of and what a DP can do with his abilities to make it look great with all of his skills, experience and talent. The key element here is talent. There are no winners as with all of our tests, since winning is dependent on your abilities.
This 90 minute documentary will be presented in three parts.
In Part Two you’ll see in the audience reactions and discussions, the results are subjective and everyone has their own personal opinion on which camera looks best. While some are delightfully surprised at the image quality of one camera over another, others were upset.
Each camera DP specialist interpreted the creative shot depending on their own taste, personal style and experience, not necessarily showing the best dynamic range of their camera but to make the scene look pleasing to them. You will see actual dynamic range tests with no variables changed in Part Three.
In Part Three, the pixel peepers will finally breathe a sigh of relief to see how the cameras stack up against one another under the same grueling conditions. We put each of the nine cameras through three different shots with the same rigorous lighting designed by Bruce Logan, ASC.
Welcome to The Revenge of the Great Camera Shootout 2012 (RGCSO) Production Logs, a Zacuto/Kessler production in association with Filmworkers Club & Tribeca Flashpoint Academy.This year is different from past Zacuto/Kessler Great Camera Shootouts. The test, administered by Bruce Logan, ASC, shows two ways of looking at cameras–empirical and subjective, with a strong emphasis on subjective.